CONTENTS LUMS Starting out from a house in Gulberg, Lahore in 1985, the construction of a custom-built campus for Pakistan’s premier University, Lahore University of Management Sciences (LUMS) commenced in 1990. The LUMS management intended to assign the LUMS project to an American architect but was persuaded later to consider a local architect. A limited competition was held, which was won by the Late Habib Fida Ali. Page 48>
CAMPUS FOR MOHAMMED UNIVERSITY Extending over approximately 55 hectares, the Campus for Mohammed VI Polytechnic University is the milestone of the ambitious scheme for the Mohammed VI Green City, a sustainable development in Benguerir, 50 miles north of Marrakech. Page 72>
FLEXIBILITY OF SPACE The University of Education building, located at the College Road, Township, Lahore is presently functioning as a training center for teachers at the secondary school level. This building is a specialized facility and is an integral part of the university. The campus retains a magnificent double storey building with airy rooms and lush green lawns which is treasured by the aesthetic sense of the visitors/students. Page 80>
ROW TO ROW Tianjin Binhai Library was designed and built in a recordbreaking time of only three years due to a tight schedule imposed by the local municipality. Next to many media rooms it offers space for 1,2 million books. Page 86>
CONTENTS HOUSE OF THE SUN Contemporary House in Ukraine with Iranian ancient architecture concept by Iranian architects. In the design, they considered two essential factors to develop the concept of MehrKhaneh interior design. The first factor is the client’s interests in the Persian civilization, culture, and values, namely the metaphors of Mithraism and sun. Page 92>
BOOK REVIEW Book review on 55 Architects of Pakistan by Mehrdad Hadighi is Professor and Head of the Department of Architecture at Pennsylvania State University and Stuckeman Chair of Integrative Design. Most recently, he served two terms as chair of the Department of Architecture at the State University of New York at Buffalo. Page 98>
ARCHI TALK To promote & appreciate architecture, A+i has launched Newage 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 is featured in every issue of A+i. In this issue we are publishing Architect Nayyar Ali Dada and Mansoor Ghanchi interviews. Page 32>
OTHERS Editorial Project News Book Reveiw Happenings
53rd issue
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Editorial An educational institute shapes thousands of lives during its existence. It produces thousands of professionals who play crucial roles in shaping the future of a country. At the time of country’s independence in 1947, there were only a handful of educational institutes in Pakistan. With time, the passion of learning grew across the country and so has the number of universities. Today, there are 183 HEC-recognized educational institutions in Pakistan. Universities such as Lahore University of Management Sciences (LUMS), National University of Sciences and Technology (NUST), and Pakistan Institute of Engineering and Applied Sciences (PIEAS), Habib University, Karachi are considered ‘dream institutions’ by many. And while up and coming educational institutes promise the world to students, there’s an older lot of universities that have already given this nation more than it can ever pay them back. At university level also, it is private institutes which are filling the gap created by government inaction. One such institute is LUMS University Lahore, which has invested considerable effort into the built environment and is reaping benefits in terms of the increased interest level of the students and affinity with the university environment. This 53rd spring issue of A+I is a special issue focusing on Habib Fida Ali Associates' design for LUMS. Other educational institutes, such as Ricardo Bofill Architect’s Mohammad VI Polytechnic University, Morocco, Sikander Ajam Associates' Faculty of Education, Lahore and Tianjin Binhai Library, China are also featured. In our ARCHI TALK section, we are publishing Architect Nayyar Ali Dada and Mansoor Ghanchi interviews.
PROJECT NEWS
HIGHER EDUCATION COMMISSION OF PAKISTAN - ISLAMABAD (FIRST PRIZE)
Photo credit: Ar. Rana Atif
The newly established campus, called ‘345’, is an architectural marvel in itself and stands as a perpetual reminder of Telenor’s pledge to the people of Pakistan to usher in socio-economic progress and human development on the back of latest technological innovations. The new state-of-the-art workplace facility is designed by Arcop, will enhance productivity and help accelerate the company’s progress towards its long term investment and developmental goals in the country. Telenor Pakistan is the frontrunner of fostering digital and financial inclusion in Pakistan which fervently advocates technology as a vehicle of sustainable all-encompassing change in the society. Telenor Pakistan’s new home in the capital city’s serene neighborhood is being dubbed as an architectural landmark that sets new standards for the construction industry in Pakistan. Built on 15.5 acres of land, the campus comes with workspace for over 1,300 people, 80 multi-rooms, 20 project rooms, and 32 fully equipped meeting rooms. 345 also boasts a fitness center, a daycare facility, a medical room, a library, retiring rooms, a startup garage, numerous exploration zones, social zones, a cafeteria, a beautiful coffee shop, open terraces, gaming zones, a parking facility for over 500 vehicles, a pit stop for employee services and much more. The building features some cutting edge modern architecture, with a dash of minimalism thrown in. Its personality is further exemplified with a healthy dose of contemporary architectural design, complete with abstract decorative pieces that you could find at every nook and cranny at the outskirts of the office. The appropriately named Office 345 represents Telenor’s commitment to the future. A sustainable office with its own water conservation system and solar energy power.
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PROJECT NEWS
NAUTILUS ECO-RESORT - PHILIPINES
Vincent Callebaut Architectures have unveiled plans for a new eco-tourism complex in the Philippines. Designed by Vincent Callebaut Architectures NAUTILUS ECO-RESORT is a pioneering, eco-tourism complex designed to unite the knowledge of the scientific community with the willingness of eco-tourists to optimize the revitalization and protection of a degraded ecosystem such as in the Philippines. Based on biomimicry, the architectures of this Eco-Resort are inspired by the shapes, structures, intelligence of materials and feedback loops that exist in living beings and endemic ecosystems. By minimizing its ecological footprint, the experience is centered on the preservation of nature and local urban ecology while respecting endemic ecosystems and agro-ecosystems. While upgrading the natural heritage and culture, this "zero-emission, zero-waste, zero-poverty" project will be built from reused and/or recycled materials from the archipelago. This collaborative concept offers responsible ecotourism based on education and interpretation in a natural environment, where the resources and well-being of local populations are to be preserved and gradually restored in a voluntary approach to "reimburse ecological debt". Discover the world without distorting it. Revitalise ecosystems instead of impoverishing and polluting them. Actively participate in the restoration of cultural heritage. Exchange without arrogance and enrich yourself with the local communities by sharing eco-responsible behaviours. In the years to come, the relationship that we decide to maintain with nature will determine the sustainability of the Homo-Sapiens that we are. With this mindset, the Nautilus Eco-Resort is resolutely committed to the concept of environmental resilience, militating for a new social system that is concerned about human and planetary health!
ALJADA MIXED-USE DEVELOPMENT - SHARJAH
The heart of the AED24 bn Aljada mixed-use development, the 1.9 m sq ft Central Hub will be a new focus for the UAE and Sharjah, regarded as the cultural capital of the Arab world. Following an international competition, ARADA has appointed Zaha Hadid Architects (ZHA) to design the Central Hub, the centrepiece of Aljada, the developer’s renowned masterplan in Sharjah, UAE. Developed with environmental considerations integrated throughout the masterplan to minimise the consumption of resources, the proposal conceptualises the moment a water droplet strikes the earth’s surface, captured in an array of elliptical buildings designed to channel prevailing winds into civic spaces and courtyards to facilitate cooling during the summer months. The central observation tower is surrounded by vibrant public squares with water features irrigated by recovered and recycled water. Tensile canopies sustain a microclimate at ground level for verdant gardens of species native to the region. In line with ARADA’s mission to build sustainable urban environments, the Central Hub’s design will incorporate the use of treated wastewater for irrigation, while the architecture will incorporate active and passive measures to lower the demand for indoor cooling. The first phase of the Central Hub will create a lively, family-friendly destination with a series of attractions and activities for residents of Sharjah to enjoy the Aljada site throughout the year; including an adventure activity zone, a food market showcasing home-grown delicacies and outdoor events spaces. To be delivered in phases beginning in 2019, the entire project is expected to be completed by 2025. CH2M has been awarded the infrastructure design contract for the project Aljada is situated in the heart of Sharjah with exceptional connectivity to surrounding areas. The masterplan is designed with walkability and wide green spaces in mind, allowing residents, workers and visitors to live, work and play within a fully integrated and sustainable community.
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A R C H I T A L K NEWAGE CABLES TOGETHER WITH ARCHITECTS STRIVES TO ACHIEVE EXCELLENCE IN ARCHITECTURE NEWAGE CABLES, the market leader in the Pakistan cable industry, in their pursuit to promote & appreciate Architecture, have launched NEWAGE CABLES INTERVIEW SERIES: ARCHITALK. The contribution to their profession & distinctive style of work one of the renowned Architect, Interior Designer & related professionals will be featured in every issue of ARCHITECTURE + INTERIORS (A+i).
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newage Cables ARCHI TALK
We were fortunate that the project was headed by a visionary and luminary, professor Mark Pitter Sponenberg. Sponenberg came from University of Oregon. He organized a rich resource of able and scholarly faculty. A galaxy of academics from U.S.A, UK, Canada and Japan formed a team of modern art educators. It was golden period of modern movement in West and these teachers brought with them creative vision of modern times. Sponenberg balanced the import with a strong local team lead by Professor Shakir Ali. A movement of modern art and design evolved with a hybrid, innovative approach which was pluralistic in character. I had the good luck of being trained by competent modernists who made their mark on me as a modernist in my early career as a designer. My first assignment was to design an auditorium in the college of arts. The project was an extremely difficult challenge, there was very little space and budget available. The auditorium delivered the challenge providing useful facility without sacrificing the existing courtyard. The project faithfully followed the cardinal principals of form following function and structure. NCA auditorium was first example of shutter board exposed concrete. The building displays a strong statement of creative engineering along with architecture solution of handling of space. My second major assignment was performing arts complex of Alhamra Art Center. The project was originally designed by the leading architect of that period Mr. Tajuddin Bhamani. It was one large building with a large dome and Islamic arcades around it. It was an example of a preconceived shape following Islamic forms. The Advisory body of arts council headed by Faiz Ahmed Faiz, assisted by Shakir Ali and Naeem Tahir were not happy with the proposal. They realized
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that the proposal would be a disaster for acoustics and site lines of performing arts functions. I was surprisingly selected up inspite of my young age and inexperience. This was in violation of rules and formalities and could be a fit case for nab for nepotism. However I took it as a challenge and under the able guidance of my mentor Shakir Ai produced a concept of modern design solution with undertones of regional relevance. The concept was based on a spatial solution of polygonal building shapes grouped around a green courtyard. Polygonal spaces with tiered auditoriums produced excellent acoustics with good site lines. Hollow brick walls produced good insulations for heat and sound. Exposed brick exterior produced maintenance-free surfaces which have aged beautifully. The building won Agha Khan International Award in 1993. The Jury included celebrities like Zaha Hadid, Arif Hassan and Arata Isozaki. The design of the complex was commended for its frugality, functionality and excellence of spaces. The simplicity of expression is minimalist in character, use of indigenous material gives it relevance to the city and its Heritage. I carried on following similar search and approach to find solutions, that relate to function, modern times and relevance to region without using clichĂŠs. WHAT SHOULD BE THE ROLE OF ARCHITECT IN OUR SOCIETY?
NAD: Architect role is not restricted to deal with design of buildings, to provide utility (purpose) stability and aesthetics. Architecture goes beyond individual buildings, to area development, neighborhood, to the street and town fabric, Architecture does not deal with technology
alone, it is part of culture. Architecture of today is heritage for tomorrow.
over burnt bricks gives it a strong sense of continuity and unity.
Challenges for architects are more complex than ever. The new issues of today are energy conservation impact of climate change and ecology.
Fluid spaces move horizontally and vertically providing excellent spaces to be adopted for a Museum, the house took 9 years to build for paucity of funds. Over burnt brick were rejected material and was very economical. The finishing materials like red cement flooring could not to be simpler.
Role of Architect is similar to a film director, to coordinate with different disciplines of profession and society. His role is also that of an activist with concerns of social salvation. Solutions of built environment must stretch beyond architectural education and orthodox professional work. Role of Architects today is different from, dogmas, styles and rules of the past. Architecture today has space for freedom. Innovative and creative initiative is available. Architect must exercise the liberties as long as their adventures follow the purpose they are built for, and they are sustainable, coexistence of art and technology, past and present, is to be achieved by architects of today.
This unusual house could only be built for somebody like Shakir Ali. It has only one bedroom. The rest of the spaces are studio spaces. This small project is a statement of modest architecture, where a strong visual statement is created by simplest of materials.
In my opinion the only way forward is pluralist, to deal with the complexity and challenges of today.
The house has a sense of repose, it responds well to climate conditions. Use of glass in carefully done, hollow external walls produce a cool, peaceful, ethereal space. Architecture moves into a lyrical statement. Credit for the creative vision and sculptural quality goes more to Shakir Sahib. I was more of a draughtsman, assisting Shakir Sahib.
Architects are more like sailors, who are constantly against a sea of oods, such as project engineers, corrupt municipal authorities unrealistic budgets and politicians with bad taste.
YOUR ARCHITECTURE HAS BEEN INSPIRED AND INFLUENCED BY TRADITIONAL AND VERNACULAR CRAFTS AND DESIGN COULD YOU PLEASE ELABORATE ON THE IMPORTANCE OF CULTURE AND TRADITION IN YOUR DESIGN.
IS THERE A PARTICULAR PROJECT THAT YOU ARE MOST PROUD OF?
NAD: I am really not proud of any of my projects. But one of my favourite project is a small Residential Project. Shakir Museum now a museum in memory of Shakir Sahib, it was designed as a home for the artist. Sometimes architecture gets beyond the pragmatics of structure and function. It moves into areas of emotions and spirituality. Architecture becomes ethereal and becomes a statement of art. This small project built in 2 kanals has very special presence. The Hall mark of this project is a strong sculpture like unity. A strong texture created by
NAD: Use of tradition can be dangerous, in case it is used as cut and paste pastiche. Most usage of tradition is application of clichĂŠs on modern structures. However useful lessons from the past, particularly vernacular architecture can be learnt, spirit of old solutions can be captured and not just forms. The spirit of architecture of the past is not in shapes it is the spirit of space as in traditional courtyards, use of movement of air, usage of water and foliage around the buildings. The architectural idioms have to be validated and adopted to new conditions and use of new materials and technology.
newage Cables ARCHI TALK
Valuable Heritage of the past has to coexist with the modern and must be saved and conserved. All buildings cannot be conserved but must be documented for studies of evolution of architecture. Sense of identity and continuity is important for human settlements. Identity is established by values of society. A society that looses its arts, literature and music, folklore cannot be expected to value conservation of built environment. Forces of real estate and commercialism are destroying heritage rapidly. Built environment must grow with a sense of history which can coexist with contemporary. WHAT IS THE MEANING OF ARCHITECTURE TO YOU?
NAD: Architecture you see is an expression of life itself, like if you give me something about Egyptian architecture I can write and handover to you a whole thesis on it, like they were superstitious and creative and all. Similarly the meaning of architecture is visible by looking at the quality of it not only visual quality generally. So now when we see this absurd architecture we realize that we are in a chaotic situation where we have not caught the threads of modernity, balance and human life. They are out of hands, so the chaos of it is presented to us in form of architecture. For me the meaning of architecture is not the following of the philosophies of the west or following of tradition it is the subconscious building of your approach towards architecture. But the fact is, in Pakistan to follow any philosophy on any scene or the values of the profession is so difficult and the circumstances in which we work are really horrific because architecture before our time, during our time, and even today are very badly supported by the clients for whom you work and LDA who makes by laws and gives you headaches for this and that. Before traditional things were considered old fashioned, I remember when Professor Sponenberg came and he saw those Swati carvings which
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were said to be some meaningless blocks. He was dazzled by them he brought to the museum's gallery and I still remember I went on a trip to collect information on them from the Swat Gallery which was led by Professor Sponenberg. The valuing of the tradition work, we think in the modern times who has the time for that and that these are useless old fashioned things but then there was this realization and people started valuing them so like this the coexistence the pluralist formula is what will apply everywhere and forever I am sure because we cannot just become modern robots and jump out of history and past and I think this is an interesting debate that will carry on. It's a matter of time like now in a matter of months machines gets out dated, technology gets out dated concepts get out dated, you see the way our lives and our existence has come into the fast lane and human comprehension is much slower than that and this the reason we see complications in life itself, it's difficult to grasp as the development is going on a rapid speed but its understanding and adaptation is not being done. The only way to overcome is to put an end to the era of dog march, like a person says this is this and architecture should be this way it has this rule that cannot be applied any longer. This time does carry space of freedom like what you have now, before you had to have a proper camera setup but now a person just holds a camera and makes a feature film all by himself and wins an Oscar like Shermeen Obaid. She is an individual without much backup but she did well. So it has complications but also a promise of freedom. But I think your universities are getting better with the syllabi and the education. WHAT DO YOU THINK IS THE FUTURE OF OUR CITIES AND WHAT KIND OF CITIES ARE WE GOING TO HAVE 50 YEARS FROM NOW?
NAD: Urbanization is the most intricate and complex challenges of Modern Times. At the outset of 20th century 10 percent of population lived in cities, in 2000 around 50 percent of world population lived in cities. In 2025 dwellers could reach 5 billion, 2/3 of them in poor countries. In 1950
only New York and London had over 8 million inhabitants. Today there are 22 Mega Cities of 33 Mega Cities in 2015, 27 are located in least developed countries. Cities are reflections, of societies they belong to. Quality of life relates to quality of built environment of the city. Human advancement has gradually and continuously evolved, from cave age to agrarian to industrial society. It took us thousands years to find that earth is round but after industrial revolution, the speed of science and technology has been supersonic. We have galloped through astronomical achievements passing through: • Information age • Computer / cyber age • Space conquests • Artificial intelligence (cloning etc ) and new robotics • High Technology We have reached the moon, but in spite of science and technology, the developed world has not been able to deliver successful urban settlements. Modern cities have failed to deliver solutions for housing, mass transport, handling of automobiles, waste management, pollution and climate change. Following western models, 3rd world cities are functional failures with no social salvation. Sadly our cities’ growth is Adhoc, unplanned and dictated by commercialism of free market forces. Multinational Companies in collusion with 3rd world magnates are lining up to turn countries into big franchises. Is globalization about the eradication of world poverty, or is it a mutant variety of new colonialism, remotely controlled and digitally operated?
IMF Economists operate from deluxe 5 Star Hotels, imposing policies, like high attitude bombing. A form of free market fundamentalism, paying heavy debts 3rd world countries are robbed of freedom to formulate their economic policies. Globalization is a way to usurp the very sovereignty of nations. The policies are reminiscent of East India Company, the corner stone of imperial system which reduced 3rd world, to labour concentration camps. Karachi can be picked up as a test case of what not to do. It carries all the ailments of a sick mega city. Karachi is ranked 134 out of 140 cities in global livability ranking 2016. The cities are assessed on five criteria’s Stability, Security, Healthcare, Culture and environment. Can this be turned around and Karachi made inclusive, safe, resilient and sustainable? Federal, provincial and local Governments are in conflict rather than harmony. The environment has never been so humiliated and degraded. “We have met the enemy and he is us” we desperately need to balance the environmental ledger. We need to strive towards sustainable and morally correct attitude towards development. The real issue is lack of understanding between, decision makers the professionals and the captive consumer, the common man. I shall like to highlight architect’s participation in townscape. Architects should go beyond individual building design. Buildings must relate to sur rounding neighborhoods. Good architecture addresses issues of continuity, identity and heritage conservation. Showing some work from our practice, I don’t rate this work completely successful but there is an attempt to relate spatial planning to surroundings and sense of continuity.
newage Cables ARCHI TALK
YOU HAVE SETUP NAIRANG ART GALLERY. WHAT IS THE CONCEPT AND OBJECTIVE OF THIS GALLERY?
NAD: During designing of interiors and furnishings of Serena Hotel Islamabad, I worked with artisans and craftsmen to produce Ethnic and traditional crafts. I was already running an Art Gallery on Jail Road, Lahore for many years.
NAD: I have been on the jury of 1985 cycle. It was an awesome experience to be amongst grants of the International celebrities and luminaries of architecture.
The work of the craftsman and artists working on Kashi Kari, ceramics and wood crafts was very inspiring.
Amongst jury were: * Peter Eisenman * Mohammad Arkon * Alvaro Siza * Charles Jenks
We decided to convert the Gallery into a private craft museum. The Gallery over the years has become a multi medium and multi dimensional place.
Aga Khan Award has made enormous contribution in raising the standards of built environment in Muslim Countries.
Today we have the following facilities: 1. Gallery for fine arts (Painting + Sculpture). 2. Craft museum (Displaying indigenous ethnic crafts). 3. An archives of regional music. 4. A sections for literature with a library. 5. A small CafĂŠ for Artists and Art students.
The award is unique in its approach toward architecture. The criteria goes beyond architectural excellence AK award looks into socio economic, socio political and regional heritage. Highest level of scholarship is collected to judge approximate 500 entries, going through a rigorous process of studies & scrutiny.
Nairang Gallery organizes a Baithak at least once a month. Following the rich traditions of old tea house, cafe house and Halqa Arbab-i-Zauq. Baithak is an effort of interaction of different mediums of art & culture.
The award promoted completely new dimensions of built environment. Special attention has applied to, cultural and historical conservation. Ever changing criteria’s with changing juries. Follow the changing scene of environment in Islamic World.
Amongst the patrons of Nairang have been luminaries such as Intizar Hussain and Munno Bhai. Presently valuable iconic personalities. I.A Rehman, Dr. Mubashir and Hussain Naqi. Grace the Gallery during valuable discourses, covering literature, music and fine arts. The Gallery provides space to various cultural forums such as Lahore Conservation Society and many other environmental forums. YOU HAVE BEEN ON THE JURY OF AGHA KHAN AWARD. DO YOU THINK AKAA HAS PLAYED IT ROLE IN PROMOTING ARCHITECTURAL AWARDS.
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Very unusual projects, such as, Mud mosque in Mali, Khuda ki Basti in Karachi, Water Towers in Kuwait. While few mega projects such as Petronas Tower Malaysia and National Assembly Dacca were also selected, selection of award display a wide range of projects. Many thanks for talking to us Mr. Nayyar Ali Dada!
newage Cables ARCHI TALK
PLEASE EXPLAIN THE DESIGN PROCESS AND CONCEPT OF LUMS. WHAT IS THE MAIN THEME AND CONCEPT BEHIND THIS PROJECT? MG: As mentioned earlier, there was no clear road map to prepare a master plan for the university. It was foreseen that the university would soon expand beyond the ongoing MBA degree program. Since a clear vision was not communicated to the firm, an adaptable design had to be devised. Later it was decided by the client and consultant that the most practical way to ensure scalability as well as optimal usage of space was to follow a modular design. In this way future expansion could be accommodated without a sense of incompleteness. This idea was a success and that can be seen today. The eventual result was a pleasant looking campus which has a comfortable environment. DID THE DESIGN GO THROUGH ANY MAJOR CHANGES? MG: No not really. The first draft of the plans was sent across to Crissman & Solomon for validation and the input they gave was nominal. (who are Crissman & Slomon) WHAT ARE THE KEY DESIGN ELEMENTS OF LUMS AND HOW WERE THEY IMPLEMENTED IN THIS PROJECT? MG: The Academic Block was designed to cater for entire setup of LUMS in early part of phase one. Keeping in view the aesthetic legacy of Lahore, the Academic Block was designed around a central courtyard with four separate entrances, analogous to the famous gates of Lahore. The octagonal shape of the building was kept completely symmetrical, reminiscent of Islamic forms. Each of the entrances lead to a different building of the university. Particular attention was paid to the dynamics of air circulation and sunlight. Open areas of the Academic Block were to form the center of interaction among faculty and student. Given the sunny climate of Lahore, we had to ascertain that the shade was maximized while allowing optimal air circulation.
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An agreeable result of this arrangement can be experienced by visiting this blend of western technology and eastern material. YOU HAVE WORKED VERY CLOSELY HFA SINCE THE INITIAL DAY OF DESIGNING LUMS. CAN YOU RECALL ANY INTERESTING INCIDENTS OF WORKING WITH HFA ON LUMS PROJECT? MG: After the completion of phase one and phase two the Board decided to have another flavor of architectre so another Architect was involved to desgin the hostels. After a couple of months we received a call from LUMS, asking to come and see the decision makers. That call was made during a meeting at the Academic Block. Incidently HFA and myself were in Lahore and near Campus.So we reached LUMS in about thirty minutes. As we entred the meeting room, Syed Babar Ali announced “we want you back Habib”. We humbly said ALHAMDOLILLAH. CAN YOU EXPLAIN IN DETAIL YOUR INVOLVEMENT WITH LUMS? MG: Right from the first building to the last I was involved in the design, development and supervision of the project. From the Academic Block to the Aquatic Center I used to cordinate between the client and MEP Consultants. Furthermore, R&D on suitable material and general specification was my responsibility. To keep the project within the budget, one needs to know the right and affortable materials and technology avaialable in the market, so I used to travel around the world to understand and implement what the client required. Our effort to delier the design and desissions in time to achive timely compeltion within budget was highly apperciated. During this long journey LUMS looked for other architects but our services made them revert their decission. I am thankful to M/s Techforce and M/s Professional Countruction Services and for their outstanding performance to turn this dream into a reality.
CAMPUS ARCHITECTURE
ARCHITECTURAL VOCABULARY CHARACTERIZED BY LOCAL TRADITION AND MODERNITY LAHORE UNIVERSITY OF MANAGEMENT SCIENCES
Text by: Ayesha Shirazi l Photographs: Courtesy LUMS
CAMPUS ARCHITECTURE
Photo Credit: Karachi Shutter
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Project Client Architect Project Architect Mechanical, Plumbing & HVAC Consultants Electrical Consultants Structure Consultants
Lahore University of Management Sciences Lahore University of Management Sciences Habib Fida Ali Mansoor Ghanchi A Sadaat and Company
Ayub Associates Progressive Consultants Republic Engineering Corporation Contractors M/s. Technical Associates M/s. Techforce Engineers & Contractors M/s. Mughal Pakistan M/s. Farid Associates M/s. Professional Construction Services
Starting out from a house in Gulberg, Lahore in 1985, the construction of a custom-built campus for Pakistan’s premier University, Lahore University of Management Sciences (LUMS) commenced in 1990. The LUMS management intended to assign the LUMS project to an American architect but was persuaded later to consider a local architect. A limited competition was held, which was won by the Late Habib Fida Ali. One of Pakistan's most prominent architects, the late Habib Fida Ali, was a master of the modernist tradition. Born in Karachi, he attended the prestigious Aitchison College, Lahore and later became the first Pakistani student to be admitted to the Architectural Association School of Architecture in London, from where he graduated in 1962. He returned to Pakistan in 1963 to join William Perry's architectural practice in Karachi. Ali later established his own practice in 1965. His famous projects include the Shell House, Commercial Union, National Bank Head Office, Cavish Court, Karachi, SNGPL Head Office Building, Lahore, Midway House Hotel, Memon Medical Institute, Infaq Medical Center, Police Hospital Garden Karachi and the Lahore University of Management Sciences (LUMS), Lahore. Our tête-à-tête with Mr. Fida Ali’s close business associate, Mr. Mansoor Ghanchi revealed many interesting facts about the construction and expansion of the LUMS campus. An amazing detail he shared was that one of the biggest challenge that Mr. Fida Ali faced as he took on the project was that there was no comprehensive brief or master plan to work with and to improve the given brief and to understand the workings of a purpose built business school. Thus, Mr. Fida Ali visited universities of a similar nature around the world and the
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design process he went through for the campus was as rigorous as the programmes the University was aiming to offer. Having now branched out into five schools, namely the Suleman Dawood School of Business, Mushtaq Ahmad Gurmani School of Humanities and Social Sciences, Syed Babar Ali School of Science and Engineering, Shaikh Ahmad Hassan School of Law and the School of Education, offering a diverse range of undergraduate and graduate degrees, the University initially started out with only offering an MBA programme. The design and construction of the campus buildings proceeded in this order: The Main Academic Block, the Service Block, the Executive Development Centre, the Gatehouse and the Pepsi Dining Centre. Mr. Fida Ali and his firm had many opportunities to contribute to the building and designing of educational buildings. Mr. Ghanchi termed them as ‘the most demanding structures.’ He said, “First thing needed to design and develop a successful educational building is to know the method of teaching of a particular programme offered by the institute. Keeping in view the curriculum, one has to place the activities in its right proximity. A project based on functional arrangement to interact and pass on the knowledge is what we are hired for.” Mr. Ghanchi recalls, “In addition to catering to the philosophy of case based teaching, the building had to be functional, low maintenance and the appearance had to be in keeping with the culture and construction style indigenous to Lahore.” Mr. Fida Ali had a very distinct design philosophy and he was one of the pioneers of using the concrete finish for commercial buildings in Pakistan. Explaining his preference for concrete he would say, “Concrete gives a very strong and very bold look. It weathers well, suits our climate perfectly and is completely maintenance-free. There is no need to paint. Mujhe uss ka brute look bohut pasand hai aur concrete ko mould karnay ka bara maza aata hai.” Following his unique style while incorporating certain elements of Punjab’s culture, the finish that Mr. Fida Ali chose for the LUMS buildings was concrete and red brick. Meanwhile, given Lahore’s hot and dusty climate, he deliberately opted to use glass sparingly. Without a clear road map to prepare a Master Plan, Mr. Fida Ali set out to design the LUMS campus. Initially, the Board simply communicated the fact that they needed four classrooms in the first academic building. It was foreseen that the University would soon expand beyond the ongoing MBA degree programme, but since a clear vision was not communicated to Mr. Fida Ali, an adaptable design had to be devised. Mr. Fida Ali and the Architecture and Campus Construction Committee decided that the most practical way to ensure scalability as well as optimal usage of space was to follow a modular design.
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Master Plan
Therefore, each building would be a self-contained unit catering to the immediate needs that were defined and additional units could be added as required. In this way, the concept of ‘doing things piecemeal’ would be rid of its negative connotation, because expansion could be accommodated without a sense of incompleteness.Additionally, a uniformity of architecture could be preserved along with the formation of a township, characteristic of an established educational institution. The Academic Block, which has a covered area of 14,000 square meters, is a double storey building with a central courtyard bordered by classrooms and offices. Keeping in view the aesthetic legacy of Lahore, the Academic Block was built around a central courtyard with four separate entrances. The external edges of the block are bordered by fringes of greenery. The octagonal shape of the building is completely symmetrical and therefore, reminiscent of Islamic forms. Each of the entrances leads to a different building of the University; the west entrance leads to the Pepsi Dining Centre, the east-facing door leads to the Gad and Birgit Rausing Library and the south access faces the Rausing Executive Development Centre. The symmetrical octagonal shape also lends itself to an efficient distribution of functions: the
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central courtyard in the middle, bordered by interactive discussion rooms, the intense classrooms in the centre and the open faculty offices at the periphery. Initially, the main facilities of the Academic Block included a library with an area of 600 square meters, a computer resource centre with an area of 250 square meters, comprising two labs and wings for faculty and administration offices. Particular attention was paid to the dynamics of air circulation and sunlight. The open areas of the Academic Block were to form the centre of interaction among faculty and students. Given the sunny climate of Lahore, Mr. Fida Ali had to ascertain that shade was maximised while allowing optimal air circulation. It is interesting to note that when one steps into the academic block, despite no contact with air conditioned space, the temperature is lower even though sunlight is directly present a short distance ahead in the central courtyard. Contrary to expectations, the concrete structure does not get scorching hot in the summers. The generous amount of open area within the academic block ensures that the air is neither heavy nor humid.
Academic Block Plan
The case-based methodology necessitates a very focused and interactive environment. Mr. Ghanchi recalls that Mr. Fida Ali once smiled and said that the completely symmetrical Academic Block is supposed to almost confuse the students, until they pause to get their bearings. This deliberately-induced, conscious need for realignment, lends to the allenveloping atmosphere afforded by the case method of teaching. The classrooms are also similarly intense. Sandwiched between the discussion rooms and the faculty offices, all the classrooms are inward looking. No natural light is allowed into the auditoriums and there is dummy space at each entrance to ensure that outside noise is practically eliminated. This conscious removal of all external distractions serves to intensify and focus the class atmosphere. This isolation serves to enhance concentration, but it does not lessen interaction within the class. On the contrary the design lends itself to conversation. The seats are fixed at varying levels in a semi-circular arrangement. All students are visible to each other and the acoustics within the auditoria ensure that sound, even in the largest class at LUMS, the Sayeed Saigol Auditorium, is not lost.
It had been specified that the faculty offices should have ample natural light and air flow. This is facilitated by their placement on the periphery of the Academic Block. They are part of the air conditioned space but each office has windows opening to the surrounding garden. Similarly, the windows of the sixteen discussion rooms, which are situated around the edges of the courtyard, also allow natural light. But, because they open into the courtyard, remain inward looking and do not afford too many distractions to the studying students. After the first phase of campus construction, expansion continued with the design and establishment of various buildings. Male and female hotels, the Executive Dining Hall, the LUMS Mosque, the Library building, Sports Complex, the Business School, the School of Science and Engineering, the School of Law and the latest building, the Aquatic Centre. Plans for a new library had been on the table for quite some and in May 1998, a foreign consultant visited the campus to advise on the building plans and offer guidance onthe setup of a new library. He had worked closely with Mr. Fida Ali, and the Chief Librarian and consulted with the
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library staff, faculty as well as students. It was decided that the proposed building would offer a single point of access to information as well as technology. This was accomplished by incorporating computer clusters above the library floors in the final design.
Law School Plan
Mr. Fida Ali was excited about the architecture because this was the first building on campus which was going to be ground plus-three storeys with an area of 75,000 square feet. He deliberately used the circle in the design because it has a very appealing, simple geometry. In a way, the circle is also similar to the octagonal shape which was the mainstay of the Academic Block. And thus, the distinctive circular windows of the library building came about. It was initially designed with an atrium in the centre but given the expansion that LUMS was undergoing at the time, the design was revised to minimise wastage of space. This turned out to be a prudent decision because currently the Information Systems and Technology department and the School of Education are housed on the second and third floor respectively. As the Business School planned to add more programmes under its aegis, the need for a multi-storeyed building arised, which would house the activities of a self-sufficient fullfledged Business School with large size auditoriums for related events.
Dining Hall Plan
Mr. Fida Ali designed a rectangular shaped building with a central main entrance, with a double height glazed wall to give it a corporate look. The entrance would lead to a grand lobby to reach different areas of the building. The basement was designed to accommodate large gatherings so it had entrances from sides as well to reduce traffic from the main entrance.
Schools of Science and Engineering Plan
The building has a linear arrangement of offices in geometrical form, which is an ideal layout to utilise maximum space. The building is designed at an angle and proportion that would signify confidence and self-reliance. Considering the generosity shown by the Dawood family over the years, the Business School was renamed the Suleman Dawood School of Business after Abdul RazzakDawood’s father. For the mammoth project that was the School of Science and Engineering, Mr. Fida Ali drew up the architectural schematics based on the facilities programme developed by Dober, Lidsky, Craig& Associates. The earlier LUMS buildings designed by Mr. Fida Ali had an ‘old Lahore’feel to them, but a science and engineering building had different requirements, e.g., the layout had to accommodate servicessuch as pipes for vacuum, nitrogen gas, etc., the air-conditioning in the Chemistry and Biology areas had to be ‘once through’wherein circulated air is replaced with fresh air constantly, to protect occupants against germs and noxious gases. The master plan for the Science and Engineering School comprised three buildings (Hshaped), totalling 550,000 squarefeet, to be developed in twophases. The first phase
Executive Development Plan
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Library Plan
included the construction of two connected (300,000squarefeet) six-storey buildings with highlyspecialised central labs in their basements. The remaining floors of the larger building were divided among the majors, andhoused their labs and offices. The top floor was ear-marked for Chemistry, to help minimise the cost of the air handling ducts forfume hoods. Since Biology had close synergies with Chemistry, it was planned for the floor below. When the idea of the Law School was floated, the first task was to choose an appropriate place to plant this building based on the design brief. Out of the three possible choices, the grounds on the left of the out gate were selected. The aim while designing the Law School building was to lay well-defined activity areas with minimum circulation areas to keep it space efficient, cost effective, energy conscience and user friendly. Mr.Fida Ali designed a very imposing, grand, open entrance with access to the right and left wings to
Male Hostel
Connections between Sports Complex and Aquatic Center Plan
give the message that justice is not out of reach. A centrally supported, well balanced staircase, like the symbol of Justice, was placed to reach other floors of the building. All areas of the building receive natural light and are easily approachable without help or guidance. The focal point of the School is the Moot Court, which is a replica of the Lahore High Court. For years to come, Mr. Fida Ali’s legacy will live on with the LUMS campus, especially his favourite creation, the main Academic Block, which he affectionately termed a ‘bhool bhulaiyaan’ (labyrinth) as he said that he felt that this was the building that he was able to do the most with; in terms of the learning he was required to do prior to designing it; the time he took to come up with the functional yet unique plan, the experimentation that he was allowed and the lack of requirements that turned out to be anadvantage.
Suleman Dawood School of Business Plan
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Academic Block 1994 The recently renamed Mushtaq Ahmad Gurmani School of Humanities and Social Sciences is a two-tiered building of 150,000 square feet. It is an octagonal cluster ofinward-facing modules built around a central courtyard. Penetration of sun and glaring light is minimised by the use of covered verandas and light wells. Building materials of brick and concrete have been left exposed.
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Rausing Executive Development Centre 1997 Purpose built facility of 50,000 sqft for in-houseconferences and training programs. It has 48single, centrally air-conditioned bedrooms withattached baths overlooking lush lawns. The conferencerooms and classrooms have capacity for 65- 300 delegates.
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Pepsi Dining Centre and Administrative Building 1998 The Pepsi Dining Centre was inaugurated as the campus dining block in 1995.It was subsequently expanded in 1999 wherein two floors were added toinclude a student centre and food court. The independent executive diningarea was also built, with offices located on the top floor. Its covered area is51,000 sqft.
Mosque 2003 The beautiful community mosque offers separate prayer areas for menand women and is open 24 hours. It spans 14,000 sq.ft.
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The Gad and Birgit Rausing Library 2002 The Gad and Birgit Rausing Library building spans 75,000 sq.ft. of coveredarea. The library floor is based on a large central hall for display and peripheralrooms for quiet reading. The remaining storeys house the InformationServices and Marketing departments, as well as computer labs for thestudents.
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Syed Maratib Ali Sports Complex 2004 The Sports Complex is the second octagonal building on the LUMS campus and it spans 46,000 sq. The large central hall accommodates indoor basket ball, badminton courts and table tennis. There are foursquash courts with viewing galleries, and gymnasiums with male/female lockers. The major building material is exposed brick and concrete, while the roof comprises steel trusses and preengineered roofing.
Syed Babar Ali School of Science and Engineering 2011 Recently named the Syed Babar Ali School of Science and Engineering, thispurpose built, six-storey complex spanning 300,000 sq.ft., complements theschool’s vision of interdisciplinary research. Research labs are housed on allon five floors. The small building located in front has a large double heightpodium with classrooms and offices. The columns are of concrete and theexterior comprises exposed brickwork with vertical fixed glass panels.
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Suleman Dawood School of Business 2012 The flagship programme of LUMS was moved to the recentlyconstructed, five-storey Suleman Dawood School of Businesscovering 150,000 sqft. The large basement comprises threeauditoria, one with 300 seats, other two with 150 seats. Theupper floors house classrooms, faculty offices, discussion roomsand reading rooms. The facade comprises entirely of red bricks.
Shaikh Ahmad Hassan School of Law 2015 The 2 storey building spread over an area of 78,000 sq. ft. comprises of auditoriums, offices for faculty, discussion rooms, meeting rooms, a Centre for International Legal Studies and a state-of-the-art Moot Court which is a replica of Lahore High Court.
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Aquatic Centre 2017 The building covering an area of 34,870.00 sq.ft. is equipped with required up-to-date modern technologies which are supported by dehumidifiers and HVAC systems. It is an Aquatic Centre with the pool of 25 meter as per FINA standards with allied facilities. Adjacent to the Syed Maratib Ali Sports Complex, the Centre is a simple block model made with a RCC framework surrounded by in fill cavity wall and cladded with Red Brick that perfectly blends into the context. The Centre is designed 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. Upon entering the building from the leading road side the double height reception is used to welcome visitors.
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MOHAMMAD VI
POLYTECHNIC UNIVERSITY
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UNIVERSITY MOHAMMAD VI POLYTECHNIC CLIENT LOCATION ARCHITECT ASSOCIATED ARCHITECT PROJECT COORDINATOR URBAN ARCHITECT SENIOR ARCHITECTS ARCHITECTS TEAM INTERIOR ARCHITECT TEAM OF INTERIOR ARCHITECTES SITE AREA TOTAL FLOOR AREA FLOOR AREA PHASE 1A + 1B
OCP GROUP BENGUÉRIR, MOROCCO RICARDO BOFILL JEAN-PIERRE CARNIAUX DIMITRI DAVOISE GIORGIO CUI EDUARDO WACHS, HILARIO PAREJA JR., JOSÉ MARÍA ROCÍAS ALVARO MIRANDA, ANGELINA SOLMS, ARNAU ROCA, FRANCESCO MARCHI, LARS SORENSEN, MARTÍN PLANTE, MARGARIDA DINIS, RICARDO LEVI, SUCHI VORA MARTA VILALLONGA ALBA AIGÜERA, BENJAMIN MIGLIORE, HÉCTOR GASCÓ, MELANIE WEITZ 540,000 SQM / 300,000 SQM 65,000 SQM
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Second Floor Plan
First Floor Plan
Ground Floor Plan
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Master Plan Sketch
Text & Photographs: Ricardo Bofill
As a result of an international competition, the group OCP, a global leader in phosphates extraction and transformation, commissioned in 2011 the design of the campus for the Mohammed VI Polytechnic University to RBTA. Extending over approximately 55 hectares, the Campus for Mohammed VI Polytechnic University is the milestone of the ambitious scheme for the Mohammed VI Green City, a sustainable development in Benguerir, 50 miles north of Marrakech. The FAR and the height limit (21 meters) called for a rational, compact composition. The geometrically organized master plan proposed by RBTA is defined by narrow streets, squares and a central axis. The scheme encourages pedestrian circulation, while the courtyards, gardens and semi-covered streets bring together students and teachers, thus promoting intellectual and social exchange, and strengthening the sense of community. With residential clusters and facilities on both sides, the central pedestrian area is the backbone of the project. This main artery gathers the daily activities both for teachers and students. Master Plan
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The urban character of the design contributes to consolidate the campus as a strong magnet. With a grid that perfectly integrates within the Green City, this concept guarantees permanent exchange between campus users and with the city and its future extension towards the east. This regular urban grid provides development flexibility, and can easily evolve to ensure the expansion of the whole functional program. The first phase of development faces avenue Mohamed VI. The rest of the program develops in a progressive manner along the pedestrian axis, running towards the green area. Phase 1 divides into two parts that include the following facilities: Part 1A: The School of Industrial Management (EMINES), residential facilities for students, sports facilities and car-park area.
Part 1B: Mining & Geology Research Centre, Congress Centre, Office building for the OCP, restaurant and club house, two residential cluster for 325 students, sports facilities and car-park area. The rest of the campus includes the following elements: - Five Research Centers and the Learning Centre, located on both sides of the pedestrian axis at the centre of the campus. The Research Centers are grouped in the same area to encourage synergies and exchange of information; - Other facilities along the axis: a restaurant, dedicated area for teachers, the Student Center and the Medical Center, and teaching facilities distributed around a plaza at the south end of the campus; - A hotel and the OCP Regional Headquarters facing the green extension; - Residential clusters on the campus perimeter; - Additional car park and green areas.
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The scheme favors green transportation systems along two roads that run parallel to the pedestrian axis, while the private use of cars is only allowed in the peripheral avenue Mohammed VI, the avenue A, and the avenue B, with access to the car-park areas. The urban design and the architectural style of the Moroccan cities, and namely the cities of the area of Benguerir, are the project actual source of inspiration. The rich architectural tradition of Moroccan towns like Fez, Meknes, Rabat and Marrakech, and the ksour (Arabic term for "castle") of the South Atlas, reveal their history, their culture, and the local abilities to adapt to specific climatic conditions. The scheme for Mohammed VI Polytechnic University Campus in Benguerir combines a genuine respect for the genius locci with environmental performance goals. The project has received « LEED NC » certification and aims to Silver « LEED NC » for buildings and « LEED Campus »for the Masterplan.
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FLEXIBILITY OF SPACE
Lahore, Pakistan Sikander Ajam Associates Text & photographs: Sikander Ajam Associates
Project Data: Project: University of Education, Lahore Location: Lahore, Pakistan Client: USAID/CDM Smith Architects: Sikander Ajam Associates Structural Consultants: Amin Tariq & Associates Electrical Consultants: Eleken Associates Plumbing Consultants: Reckon Start Date (month/year): March, 2012 Completion Date (month/year): January, 2013 Total Covered Area: 55,000 (Sft)
The University of Education was established in 2002 as the highest seat of learning in teacher education with clear goals and objectives of producing quality teachers of international standards stated as: • Bring quality change in education focusing on teacher education. • Promote governance, leadership and management skills among educational managers. • Promote teaching and learning innovations. • Develop human resource for educational institutions and other areas of high social and economic need. • Establish linkages with national and international educational institutions and the society. In addition to offering degree programs, the University of Education adopts multi-pronged strategies like faculty development through holding workshops, seminars, short and advanced courses. Postgraduate Diploma and Teaching Certificate for faculty needs a special mention. This program focuses on capacity development of the faculty in response to the emerging needs of the time. Foreign scholarships are also awarded to attract the best available talent for faculty. UE Township campus is therefore a step towards achieving the above mentioned aims.
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The University of Education building, located at the College Road, Township, Lahore is presently functioning as a training center for teachers at the secondary school level. This building is a specialized facility and is an integral part of the university. The campus retains a magnificent double storey building with airy rooms and lush green lawns which is treasured by the aesthetic sense of the visitors/students. Spatial Organization: The design aims at providing the campus flexibility of space utilization; making it more efficient by incorporating sustainable features. The concept is to make the two courtyards a primary part of the entire facility enabling them to become an effective social space for students. The spatial planning of the facilityis based on an entrance axis with functions distributed on either side. It has an expansion block to the rear. The building has a central recessed access which iscreating a congregational space for the students, resulting in increased interaction between students and faculty. The spatial requirements consist of classrooms, Administrative spaces and Labs/Auxiliary spaces including Computer
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Labs, Resource rooms, and Common lounges for both genders, terraces at roof level for an estimated population of five hundred students. Green and ecological features are employed to meet international standards. Rain water is harvested for landscaping and for washing paved areas. Moreover the building is oriented for maximum utilization of sun in winters and natural ventilation in summers, in the classrooms and other spaces. Courtyards are provided to enhance the effect of natural passive ventilation. Free flow of air into the building is ensured with vertical stacks for moving stack air out. Safety requirements of access and exit are also met in the circulation areas by featuring the requisite number of staircases and lifts. Facade is composed of Local bricks and hasbrick louvers to control light and glare.i.e vertical stacks and brick Jaali. Vertical Louvers are also incorporated in facade design to further moderate light and shadows into interesting patterns. Over all Building follows both regional and modern language with its straight lines and regional facade finishes and plan form.
Thermal Performance Studies of the Design: Solar Study: These studies are based on the concept of studying the Sun’s path over the course of the day to see the building’s feasibility both thermally as well as aesthetically. The same has been used to design sun shades, overhangs, light shelves, and Louvers, if any. Below mentioned studies are taken on the summer month ‘July’and a winter month ‘December’ of the year. Conclusion and aim of design: The circulation of the buildinghas been organized keeping in mind the feasibility of each room’s location. The classrooms, lab, Faculty rooms and professor rooms are all located on the ground floor as it required connection to surrounding building blocks. The central courtyards aim to passively cool the surrounding rooms in the summers and vice versa in the winters. Sustainability also involved orienting the building to gain maximum wind in the summers and block cold winds in the winters.
ROW TO ROW
Tianjin Binhai Library
MVRDV, TIANJIN URBAN PLANNING AND DESIGN INSTITUTE Tianjin Binhai Library / MVRDV + Tianjin Urban Planning and Design Institute ARCHITECTS LOCATION AREA PROJECT YEAR DESIGN TEAM
CONCEPT DESIGN CO-ARCHITECT STRUCTURAL ENGINEERS INTERIOR ARCHITECT LIGHTING DESIGN PHOTOGRAPHS
MVRDV, TIANJIN URBAN PLANNING AND DESIGN INSTITUTE TIANJIN, CHINA 33700.0 M2 2017 WINY MAAS, JACOB VAN RIJS, NATHALIE DE VRIES WITH WENCHIAN SHI, MARÍA LÓPEZ CALLEJA, KYOSUK LEE, SEN YANG, MARTA POZO, CHI LI, RAY ZHU, ÁNGEL SÁNCHEZ NAVARRO, DAEHEE SUK, GUANG RUEY TAN, XICHEN SUN, MICHAEL ZHANG, MARIYA GYAUROVA, JAIME DOMINGUEZ BÁLGOMA, ANTONIO LUCA COCO, COSTANZA CUCCATO, MATTEO ARTICO, AND TOMASO MASCHIETTI WINY MAAS, JACOB VAN RIJS, NATHALIE DE VRIES WITH RENSKE VAN DER STOEP, MARTINE VLEDDER, KYOSUK LEE, GERARD HEERINK, CHI LI, FRANCISCO POMARES, NICOLAS LEE, CLAUDIA BODE, SHARON SIN, JAAP BASELMANS, HERMAN GAARMAN, HUI HSIN LIAO, ANTONIO LUCA COCO, COSTANZA CUCCATO, MATTEO ARTICO AND TOMASO MASCHIETTI TIANJIN URBAN PLANNING AND DESIGN INSTITUTE (TUPDI), TIANJIN, CHINA SANJIANG STEEL STRUCTURE DESIGN TADI INTERIOR ARCHITECTS HUAYI JIANYUAN LIGHTING DESIGN OSSIP VAN DUIVENBODE
Text description provided by the architects: MVRDV in collaboration with local architects TUPDI has completed the Tianjin Binhai Library, a 33,700m2 cultural centre featuring a luminous spherical auditorium around which floor-to-ceiling bookcases cascade. The undulating bookshelf is the building’s main spatial device, and is used both to frame the space and to create stairs, seating, the layered ceiling and even louvres on the façade. Tianjin Binhai Library was designed and built in a record-breaking time of only three years due to a tight schedule imposed by the local municipality. Next to many media rooms it offers space for 1,2 million books. The library was commissioned by Tianjin Binhai Municipality and is located in the cultural centre of Binhai district in Tianjin, a coastal metropolis outside Beijing, China. The library, located adjacent to a park, is one of a cluster of five cultural buildings designed by
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an international cadre of architects including Bernard Tschumi Architects, Bing Thom Architects, HH Design and MVRDV. All buildings are connected by a public corridor underneath a glass canopy designed by GMP. Within the GMP masterplan MVRDV was given a strict volume within which all design was concentrated. The building’s mass extrudes upwards from the site and is ‘punctured’ by a spherical auditorium in the centre. Bookshelves are arrayed on either side of the sphere and act as everything from stairs to seating, even continuing along the ceiling to create an illuminated topography. These contours also continue along the two full glass facades that connect the library to the park outside and the public corridor inside, serving as louvres to protect the interior against excessive sunlight whilst also creating a bright and evenly lit interior. “The Tianjin Binhai Library interior is almost cave-like, a continuous bookshelf. Not being able to touch the building’s volume we ‘rolled’ the ball shaped auditorium demanded by the brief into the building and the building simply made space for it, as a ‘hug’ between media and knowledge” says Winy Maas, co-founder of MVRDV. “We opened the building by creating a beautiful public space inside; a new urban living room is its centre. The bookshelves are great spaces to sit and at the same time allow for access to the upper floors. The angles and curves are meant to stimulate different uses of the space, such as reading, walking, meeting and discussing. Together they form the ‘eye’ of the building: to see and be seen.” The five level building also contains extensive educational facilities, arrayed along the edges of the interior and accessible through the main atrium space. Public program is supported by subterranean service spaces, book storage, and a large archive. From the ground floor visitors can easily access reading areas for children and the elderly, the auditorium, the main entrance, terraced
access to the floors above and connection to the cultural complex. The first and second floors consist primarily of reading rooms, books and lounge areas whilst the upper floors also include meeting rooms, offices, computer and audio rooms and two roof top patios. Th e library is MVRDV’s most rapid fast track project to date. It took just three years from the first sketch to the opening. Due to the given completion date site excavation immediately followed the design phase. The tight construction schedule forced one essential part of the concept to be dropped: access to the upper bookshelves from rooms placed behind the atrium. This change was made locally and against MVRDV’s advice and rendered access to the upper shelves currently impossible. The full vision for the library may be realised in the future, but until then perforated aluminium plates printed to represent books on the upper shelves. Cleaning is done via ropes and movable scaffolding. Since its opening on 1 October, 2017 the building has been a great hit in Chinese media and social media; reviews describe it as an ‘Ocean of Books’ (CCTV) and the ‘Most beautiful library of China’ (The Bund). Comments on social media call the building a ‘sea of knowledge’, ‘Super Sci-Fi’ or simply ‘The Eye.’ Most importantly, it is clear that the people of Tianjin have embraced the new space - and that it has become the urban living room it was intended to be. Tianjin Binhai Library was built according to the Chinese Green Star energy efficiency label and has achieved two star status. MVRDV collaborated with Tianjin Urban Planning and Design Institute (TUPDI), structural engineers Sanjiang Steel Structure Design, TADI interior architects and Huayi Jianyuan lighting design. It is the second realised MVRDV project in Tianjin following TEDA Urban Fabric, completed in 2009.
HOUSE OF THE SUN INTERIOR DESIGN
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Contemporary House in Ukraine with Iranian ancient architecture concept by Iranian architects. In the design, they considered two essential factors to develop the concept of MehrKhaneh interior design. The first factor is the client’s interests in the Persian civilization, culture, and values, namely the metaphors of Mithraism and sun. The second factor is the artistic character of the client, which had to be reflected in design. Design firms: Keivani Architects & Persian Primavera Location: Ukraine Architects in charge: Nima Keivani, Sina Keivani, SolmazFooladi Client: Studio Primavera Design name: MehrKhaneh Design Associates / Team: Ladan Mostofi, Konstantin Starodubtsev Executive Manager: Solmaz Fooladi Graphic: Sina Keivani Building Type: Residential interior design Photoghrafer: Sergey Savchenko Project area: 101 square meter Date of Construction: June 2016
Text & Photographs: Keivani Architects
*MehrKhaneh meaning house of the Sun. The project is located in one of the apartment block of residential complex. During the design, we considered two essential factors to develop the concept of MehrKhaneh interior design. The first factor is the client’s interests in the Persian civilization, culture, and values, namely the metaphors of Mithraism and sun. The second factor is the artistic character of the client, which had to be reflected in design. Considering the budget restrictions, we aimed to develop a minimal and affordable space, yet artistic and Iranian genius loci with a symbolic approach to Mithraism. Accordingly, by conceptualizing the design based on the styles of Loft Architecture, we used exposed concrete, rebar, and metal oxide to design the space. The choice of brick and wood as well as lighting design created a cozy and warm atmosphere that is desirable for a residential place. One of the most important design ideas is the set of stairs located in the living room; it is a symbolic, yet philosophical element. This element is inspired from historic Mihrabs and ziggurats, which are symbols of promotion and approaching closer to sun. Sun is the symbol of light, and light is the symbol of knowledge and wisdom. This design is a symbol of approaching to sun and advancing to knowledge essential for improvement and actualization of thoughts for an artist. The direction and raise of stairs are toward east and sunrise. The design of lighting fixtures is also inspired by the symbolic role of Sun, and it follows the geometric symbol of sun, which a triangle surrounded bya dodecagon, used in traditional Iranian architecture. In a part of ceiling the triangular and pyramidal shapes are used such that they
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are such as the extensions of the light radiation that pass through the roof and shines inside such that no barrier _even a concrete wall- cannot prevent the knowledge and wisdom. The ancient sun pattern was used as a light frame in this unit. Furniture are designed in accord with the afore mentioned concepts, realized by using materials such as concrete, rebar, and metals. Not only we applied this concept to the interior design of kitchen for consistency, we also used turquoise tiles in this space to inspire the sense of place (Genius loci) that emerges in the Iranian traditional architecture. Considering the role of plants in traditional Iranian architecture, planting components have been placed in different parts of this unit, for example, in the kitchen, as hanging components. In the space right in front of the kitchen, wooden materials are used to create a beautiful scenery with the special daylight available at sunset. One room is considered as the home office and meeting room, designed with simple yet creative ideas like using patterns of concrete for the floor lamps.
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Although affordable materials such as concrete, rebar, and recycled woodare used in the bedroom’s interior design, our design has created a desirable and relaxing space to satisfy the requirements of a bedroom. We considered two factors to develop the concept. The first is Persian civilization,the second is the artistic character of the client. We aimed to develop a minimal and affordable space, yet artistic and Iranian genius loci with a symbolic approach to Mithraism. We used exposed concrete, rebar, and metal oxide to design the space. The choice of brick and wood as well as lighting design created a cozy and warm atmosphere. Stairs located in the living room; this element is inspired from historic Mihrabs and ziggurats, which are symbols of promotion and approaching closer to sun. The ancient sun pattern was used as a light frame in this unit. Furniture are designed in accord with the aforementioned concepts.
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BOOK REVIEW
ARCHITECTURE AFTER INDEPENDENCE: Book review by: Mehrdad Hadighi Professor and Head Department of Architecture Stuckeman Chair of Integrative Design The Pennsylvania State University Architecture After Independence, 55 Architects of Pakistan was published by Arch Press in 2016. It is a hard cover book of 336 pages, 29x26cm in full color, documenting the architectural productions of fifty-five architects in Pakistan, practicing since the Independence. The book is edited by Murtuza Shikoh and Zain Mankani, and has four substantial essays to launch the critical conversation. Kamil Khan Mumtaz provides a thorough documentation of the architects since independence, and follows their education and professional training in detail. He brings much personal knowledge of the individuals involved and the histories that developed around them. His essay should, in fact, be expanded into a new book, following his two earlier books of 1985 and 1999, documenting the sources of the contemporary architecture of Pakistan. Arif Hassan’s “Architecture Then and Now” provides the most critical view of the architecture in its ignorance of the socio-political realities that surround it. Even in cases where architects are building for the poor, he documents that architects are unfamiliar with materials, and techniques of construction that are inevitably used in those contexts, resulting in a discord between the built and the methods of building. Hasan-Uddin Khan provides a bibliography of books that cover recent architecture in Pakistan, most valuable for those interested in researching this arena. He continues by analyzing
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the development of possible architectural agendas since “independence”, from post-colonial to modern to Islamic identity to regionally appropriate and finally to hyper-modern. Jawaid Haider traces the history of an integrative model of studio instruction, developed at the Dawood College Department of Architecture, and follows its trajectory to contemporary instruction and provides a critique of the instruction of architecture both in Pakistan and abroad. He also points to important fissures between education and practice. Each essay concentrates on a particular angle of analysis, and collectively, they provide a great introduction to the issues at stake, both in the work presented and in the larger architectural context of Pakistan, the region and the globe. Before I set out to examine the material in the book, it is important to mention how significant it is to collect a body of work under a “banner”. It is the necessary step towards any serious examination of any topic. To that end, the book is a commendable effort in collecting, collating, and documenting a particular history. Without documents of this nature, any serious study will not exist. So, at the outset, the book has accomplished a remarkable feat of producing an archive of architectural work in Pakistan of the last approximately sixty-five years. The four essays in the book open avenues of research and critique for future researchers. In addition, the essays, through providing a thorough document, pave the way for new research, even those that may not have been called upon by the essays themselves. The title of the book: Architecture After Independence, 55 Architects of Pakistan gives us a glimpse of the complexities within. The title of the
55 ARCHITECTS OF PAKISTAN book presents two worlds, one, “Architecture After Independence” that involves history; politics, religion, and points to architecture that is, and perhaps, must be, engaged historically, socially and politically. The other, “55 Architects of Pakistan”, presents a more neutral stance where architecture may be viewed and studied within its own formal and tectonic realm. The two appear in the book under the same cover, but almost independently, one following the other. This very duality between interdependence and independence is the critical edge of the book and the issues that it puts forth. “Architecture After Independence”, already in the title, suggests a breaking point, a historical fissure that may be recognized and detected in its architectural forms. In 1946, just after World War II, the British government was convinced that the Indian sub-continent was to be independent, and in 1947, it announced its agreement with the principal of independence and also of the division of “British India” into two independent states, those of India and Pakistan. There is, however, further nuance in this independence and division. Pakistan was originally formed as the Islamic republic of Pakistan. Muhammad Ali Jinnah, the leader of the Pakistan movement, in his first broadcast to the nation as Pakistan’s first governor general stated: "August 14 is the birthday of the independent and sovereign state of Pakistan. It marks the fulfillment of the destiny of the Muslim nation which made great sacrifices in the past few years to have its homeland." The “Independence” that appears in the title of the book is both an independence from the British, and from India. Although not in the title of the book, independence, in this case, also means the beginning of the Islamic Republic, with all of the socio-cultural, and archi-
tectural contexts of Islam. The simple title of “Architecture After Independence” already has pointed to the nuanced complexities that exist within the book, both in its temporal bracketing of “after independence”, and in its engagement of architecture within a country whose main religion is Islam. This plays a major role in much of the discussions in the book, and bears further attention. The essays in the book are concerned with the issue of “tradition” in the context of “Architecture after Independence”. The use of tradition is also nuanced. On the one hand, if we take 1947 as the start date for architecture presented in this book, we would be looking essentially at modernity as the tradition. However, there is, I believe, a different sense of what constitutes tradition within the four essays of the book. It is a combination of building traditions of the people who occupied the land that became Pakistan, independent from “independence”, and the traditions of architecture within countries whose main religion is Islam. The strength of the essays and the book lies in outlining the relationship between modernity and tradition as the struggle and the complexity of practicing architecture in Pakistan. I will suggest that this complexity is, and has been, the foundational complexity of architecture around the world. Of course, the tradition changes, and so does our definition of modernity, but the complexity remains for all architects to explore. Modernity, as one of the poles to which the architecture in the book gravitates, is approached most often, though not always, as a fixed and stable entity, incapable of nuance and change. Modernity grew out of the industrial revolution, new materials and technologies of construction, and new social agendas, long before it was labeled a style. In fact, I
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BOOK REVIEW
would argue that modern architecture was very much in line with traditions of construction and building that served as the foundations of architecture for centuries. Modern architecture grew out of traditions of construction in the West. In this light, it must be considered an evolutionary practice, one that has evolved from inception, and will keep evolving. Its adherence to certain formal ideologies and ignorance of certain other programmatic and urban issues are a part of its evolution, and it is up to us as architects to evolve it in directions that are sustainable urbanistically, programmatically, socio-politically, but also formally and aesthetically, and yet progressive and challenging. The vernacular building traditions of the land that became Pakistan served and still serve buildings of modest scale (although Arif Hassan’s point about
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the discord between contemporary architecture and vernacular building traditions need to be contemplated). However, in today’s heavily urbanized world we cannot rely on low-rise building as the pre-dominant source of housing, governmental and commercial buildings, without embarking on irresponsible and un-sustainable sprawl. Large-scale buildings, such as those imagined for the new capital of Islamabad, buildings such as monumental mosques, town halls, and memorials would need to be conceived, at least structurally, using modern technologies. What, then, becomes of these buildings, if they cannot be expressions of traditional materials and modes of structuring and construction, in the way their traditional counter-parts were. In this context, we must examine, at least structurally, modern building technologies. What should these buildings look like? Should they derive their appearances from their materials and methods of structuring and con-
struction, or should they serve as symbols of ideologies, whatever those ideologies may be? We see examples of where building traditions and construction technologies went hand-in-hand with the appearance of buildings in centuries-old mosques, and bazaars. We also see the same inter-dependence between buildings and materials and methods of construction in modern architecture, though resulting in different architectural sensibilities than those earlier traditions. This is the question that is raised by the book: Given the necessity of modern technologies and techniques of construction in large buildings, what gives expression to the building, if not their modern materials and methods. There is clear delineation of what the answer is not. More than once, the careful balance of history and tradition with innovation and the “new” is men-
tioned in the book. It re-appears in the four essays from different perspectives, and documents an astute reading of the socio-economic and architectural context. Arif Hasan refers to it as “draftsman-designed”31, and Jawaid Haider as “Dubaization”. We know from the book that the complete independence of the architectural expression from its materials and methods of construction is not desired. The extreme of this case is made by all four citing examples of buildings that are cloaked in an expression of wealth. Arif Hasan’s essay provides a powerful analysis of the client as one of the possible sources of this discord. He documents the international shift from the “elite” and public clients to the “rich”, and developer clients, and its effects on the architectural landscape of the world, specially the poorer parts of the developing world. Hasan-Uddin Khan refers to this as a “display of wealth in an essentially poor country" 42. We recognize from the essays
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that this model of expression is not one to be followed. However, it is much more difficult to find a model that addresses the larger question stated earlier: Given the necessity of modern technologies and techniques of construction in large buildings, what gives expression to the building, if not their modern materials and methods. Another nuance that appears in the essays and requires much deeper analysis is the relationship of culture to colonial discourse. The word colonial is used often, always in the context of the British colonial power. Here, like the use of the word “modern”, it is assumed to be unified, fixed and stable. A narrower definition of “colonial” would limit its use to a country or empire controlling another. A more nuanced reading would include ways of life. There is much written history of the recent colonization of the entire world by western media. So, we know that colonization is not limited to a government or empire. In this context, religion would also fall within the definition of colonization. I believe this very issue is another avenue of research to which the book points, but towards which it does not venture. How can we be, wholesale, against one kind of colonization, and support another? The issue, it appears to me, is not so much tied to colonization, but much more to a critical and nuanced reading of colonization. It is clear from the book that Islam, although not native to Pakistan, and not born there, appears as the tradition, and modernity, also not born in Pakistan, as the outsider, the foreign agenda that has been imposed on the country. I will suggest that the division between tradition and modernity is not clear-cut and is embedded with much more complexity and nuance. Tradition, in the book, splits into local building traditions-whose expressions are appreciated-and the traditions of older buildings within the Islamic culture found elsewhere in the world. Tradition, assumed to be vernacular and local, is, in fact, a mixture of local and colonial. Modernity, on the other hand, appears as the outsider, although its practices have been the norm everywhere around the world for almost a century. That, which may be local by now, we consider to be “foreign” and colonial. When we mention the word colonial, we use it in the context of practices with which we do not have affinity. Those practices with which we do have affinity, regardless of their source, we consider “tradition”. This is the gift of the book, opening this door into an in-depth discussion of what constitutes tradition, what constitutes modernity, and how architects practice in the space opened by the nuance of the definitions of tradition and modernity.
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Mehrdad Hadighi is Professor and Head of the Department of Architecture at Pennsylvania State University and Stuckeman Chair of Integrative Design. Most recently, he served two terms as chair of the Department of Architecture at the State University of New York at Buffalo. Hadighi is an Iranian-born, US educated architect, and has been an academic for the past twenty-eight years, teaching in the United States and abroad. Hadighi completed his post-professional graduate studies at Cornell University and holds a professional degree in architecture and a degree in studio art from the University of Maryland. A licensed architect, he is founding principal of the Studio for Architecture, a design practice that is engaged in research and experimentation through building projects of different scales and scopes, site-specific gallery installations, and design competitions. Hadighi’spremiated design competition entries include the Studentenheim + Bauernmarkt, Glockengasse, Public Space in the New American City, Atlanta, Berlin Alexanderplatz Design Competition, Austrian Cultural Institute in Manhattan, and the Peace Garden Design Competition. Hadighi has been selected as one of “25 most intriguing, innovative and intrepid architects, from all over the world” by Wallpaper* magazine; and as one of “10 Young Firms Reshaping the Globe” by the Architectural Record magazine in their Design Vanguard issue. The Architectural League of New York selected Hadighi as one of the six notable “Young Architects” in their “Young Architects Forum” series. His work is the subject of a monograph by SHARESTAN, and his most recent work has been featured in the following books: Architecture Today, Conversions; Small Structures, Green Architecture; Xs Green: Big Ideas, Small Buildings; Extensions and Renovations; Up, Down, Across: Domestic Extensions; House Plus, New House Design; and Architecture In Detail. He is the author of Tschumi's Architectural Manifestoes, a dual language book in English and Parsi, and llAW of WAll. His building for Lafayette 148, a New York-based fashion design company is the subject of a new book by ACTAR, to be published in 2016. His scholarly work focuses on drawing parallels between 20th century art, critical theory and the constructive principles of architecture. This work has been celebrated with prestigious research awards from the National Endowment for the Arts, and the New York Foundation for the Arts.
HAPPENINGS
INTERIOR DESIGNERS AGM Pakistan Institute of Interior Designers held its extraordinary Annual General Meeting on the 27th January 2018, at the Building Centre (IBL) Karachi. It was called in by the Election committee of PIID. The Election committee comprising of Mr. Shahid Abdulla (Former Chairperson 2001-2010), Ms. Naheed Mashooqullah (Former Chairperson 2010-2015) and the Honorary General Secretary Mr. Danish Zuby (2001-2010) had called in the meeting to vote in the new Managing Council after the nomination process had completed. The Managing council acts and represents the Institute in all matters and executes the policies and decisions of the members of the General Body.
ARCASIA YOUNG ARCHITECTS STORMATHON The First ARCASIA Young Architects Stormathon was organized in Chiang Mai, Thailand. Tan Szue Hann from Singapore, Chairman of ACYA, ARCASIA Committee on Young Architects jointly organized the event with Deputy Chairman ACYA Ar. Ahmad Ridha from Malaysia who will take over from him in 2019-2020. Pakistan & IAP was officially represented by Vice President IAP Ar. Fawad Suhail Abbasi who is also the First Chairman of ACYA, 2015-2016. 17 Member Asian Countries were represented out of 21. This event was named & initiated by Ar. Fawad during his term as ACYA Chair. The members spoke in detail about the targets set by a new committee and the vision for the future. The discussions opened many new avenues for its direction and strategic planning, future activities, 2018-2020 calender, organizational chart and delegating work through sub-committees. This would ensure more projects and global knowledge sharing.
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PATTERNS Institute of Architects Pakistan IAP organized a Student workshop in collaboration with IAP Rawalpindi/Islamabad chapter. Swiss Architect Andre. C. Meyer Hans has conducted the workshop titled ‘Patterns; a creative-abstract design methodology of the next generation’ and was held at the Department of Architecture, Comsats-Islamabad. Students from the three design schools of Islamabad/Rawalpindi participated namely, SADA( School of Art, Design and Architecture), NCA (National College of Arts) and Comsats. The content was structured around four sessions and focused heavily on patterns and their use in architectural design and technology. The first session arch Andre gave a brief introduction about himself followed by a lecture about recognizing and working with patterns in architectural design. The second session included a small exercise that required students to develop a grid and come up with a two dimensional geometric pattern. In the 3rd and 4th session, students turned the 2d pattern into a 3d form and designed an architectural space respectively.
GREEN LIVING The Institute of Architects Pakistan, Islamabad chapterhad arranged an evening of an inspiring talk/lecture by the world renowned Bangladeshi Architect Rafiq Azam. The event was attended by both IAP members and students from the twin cities architecture schools. Ar. Azam talks about topographical challenges while designing in Bangladesh and the factors that influence them like heavy monsoon rains and the Himalayan water on the Ganges plain. He talks about a few selected projects of his namely, Mamoun residence Dhaka, S.A residence Dhaka, Meghna residence Dhaka and upcoming The Bangladesh high commission in Islamabad. At first his choice of materials- exposed concrete, glass and exposed brick- reflect practical shrewdness, given the climate of Bangladesh and ease of maintenance. Secondly they reflect the apparent simplicity of his work that disguises a much more complex fabric. Azam’s green architecture is strictly not about being sustainable. It is more about his dialogue with the greenery, the sky and water of his surroundings and how effectively his structures can do the same.