ICONcentric by AsrarKhazi

ICONcentric

ASRAR KHAZI

ICONcentric By

Asrar Khazi

A thesis book for the Final Architectural Project submitted to the Department of Architecture, School of Architecture, Art, and Design, American University in Dubai In partial fulfilment of the requirements for the Degree of Bachelor of Architecture Fall 2020

Approval of the Thesis Book for Final Architectural Project

Dedication/Acknowledgment Page

Department of Architecture, School of Architecture, Art, and Design, American University in Dubai Student’s Full Name: Asrar Fayaz Khazi Thesis Book Title: ICONcentric This thesis is for Studio 9,

Student Signature:

Date: __________________

Professor Name: Anna Cornaro Professor Signature:

Date: __________________

ABSTRACT An expression or motion can be simplified to an icon. Within an icon there is symbolism that gives depth, which can be further interpreted. There are many criterions for an icon. In terms of architecture the concept of icon has evolved from traditional to contemporary, expanding its boundary over time. With traditional architecture being categorized as ‘bulky’ and contemporary architecture as ‘light’. For instance, traditional architecture has depth in design in contrast to contemporary architecture that focuses on integrating the interior with the exterior with its floor to ceiling glass façade. There has also been an evolution of architectural icons in contributing to iconic cities. Dubai a modern iconic city has taken influences from New York City and modern icons like the Eiffel tower to leave an impression on the world stage as a tourist destination. New York City went through technological advances like new materials and methods that have made. Singapore like Dubai grew from a small city to a modern city. Dubai like the city’s mentioned grew from a small coastal settlement with vernacular architecture like wind-catchers to a modern city with skyscrapers. Establishing itself as an iconic city having structures like Dubai World Trade Center, Dubai’s first icon. Gaining exposure by establishing the Burj Al Arab hotel, it gained traction by its shape. As stated by architect of Burj Al Arab, Tom Wright “How can you tell me that a building has become a symbol? If you can draw it in five seconds, and everyone knows what it is?” (Lee). Dubai has also focused on creating iconic communities like Palm Jumeirah. It has also created communities that are a stark contrast to the iconic communities mentioned. This research will focus on the aspect of an icon helping a community and if Dubai has achieved this. Key Words: icon, symbol, traditional, contemporary, iconic communities

SECTION I - RESEARCH SUBJECT

SECTION II - PROGRAM AND SITE ANALYSIS

1.1. What is an Icon? 1.2. Traditional Icons 1.3. Eiffel Tower - Pretense for Verticality 1.3. Contemporary Icons

14 18 24 28

2.0 Dubai 2.1. History of Dubai 2.2. The Role of Iconic Structures in Cities

34 36

40 44 48 50

74 78 79

6.1. CCTV Headquarters 6.2. The Louvre Abu Dhabi 6.3. The Interlace 6.4. Similarities, Patterns Identification Diagrams 6.5. Summary and Synthesis

7.1. Program 7.2. Discovering ICONcentric 7.3. Spatial Relationship Diagram 7.4. Relationship Matrix

56 58 60 62 64 65 66 68 69 70

154 156 157 158

8.0 Site Context and Analysis 81 82 107 145

152

8.1. Judgement Criteria 8.2. Comparision Analysis 8.3. Site Determination 8.4. Program Development

SECTION III- CONCEPT DESIGN AND IMPLEMENTATION 9.0 Design Approach 9.1 Concept Proposal and Design Impac 9.2. Conceptual Strategies from Research

4.0 Icons in Dubai 4.1. Dubai World Trade Center - Pretense for the Future (1979) 4.2. Deira Clock Tower 4.3. Nasser Rashid Lootah Building (Toyota Building) 4.4. National Bank of Dubai 4.5. Burj Al Arab 4.6. Emirates Towers 4.7. Burj Khalifa 4.8. Etisalat Tower 2 4.9. Dubai Frame 4.10. Musuem of the Future

5.1. Iconic Communities of Dubai 5.2. Transnational Identity 5.3. The Use of Icons Relating to Community Living

6.0 Case Studies

3.0 Iconic City 3.1. New York City 3.2. Shanghai 3.3. Singapore 3.4. Dubai Model 3.5. The Bilbao Effect

7.0 Programming and Spatial Analysis

5.0 Enigma

1.0 ICON

9.3 Structural, Environmental, Technical and Sustainable Integrations

194 200 201

10.0 Preliminary Design Documentation 10.1 Horizontal representations 10.2 Vertical representations

203 206

Works Cited

216

Image Illustration

221

1.0 ICON

1.1 WHAT IS AN ICON? An icon is defined as the living or non-living that is revered and a symbol for greater meaning. The interpretation of an icon is a link between what is seen in an object and what is interpreted. An icon is the physical resemblance of what is signified. For instance, an icon of the Sydney Opera House. The Symbol, however, is not linked to what is signified rather it is cultural and abstract in meaning that has been garnered over time. For instance, the Sydney Opera House being an icon known for its unique shape the resembles a sail like silhouette (Figure 1.1) (Bradley 2016). The use of symbols for communication has been there since antiquity. The first writing system that developed symbols for communication was developed in Mesopotamia between 3400 BC and 3300 BC (Figure 1.2). Since then there has been constant evolution in the language of communication.

Figure 1.1 Sydney Opera House

The symbolism, which is related to icons in architecture, has used height. Height has always been a symbol. The Tower of Babel (Figure 1.3) a myth in Mesopotamia mentioned in the Bible to symbolize a tower reaching the heavens through human ingenuity is an expression of mankind breaking barriers in height reaching the sky (Dhwty 2019). The idea of verticality will always be a concept that will be explored. Like Gothic architecture that had cathedrals, rushing to the sky. It also has to do with image of a city. Which is why city planners, architects, state officials like to create skyscrapers a fundamental aspect of a modern city to create a skyline that represents the city (Maslovskaya and Ignatov 01).

The origin of skyline (Figure 1.4) comes from the English language which originally meant “horizon” or “outline on the background of the city.” The first recorded use of the word skyline was in 1824 when it appeared as a synonym for the horizon, the line where the earth and sky meet. This has since then become refined with it being used specifically in architecture. With skyline meaning “the outline or silhouette of a building or number of buildings or other subject seen against the sky” (Maslovskaya and Ignatov 02).

While icons can be understood in a more generic sense. The study of icons in architecture is abstract and more layered as there can be more interpretations. Since traditional architecture to present. Iconic architecture has been defined with many factors: • Recognition • Popularity • The value of the project to society • The value of the project to Architecture • Ground-breaking in innovation Figure 1.2 Sumero-Akkadian Writing from Babylon

Figure 1.4 Skyline of a City

Thus, traditional icons and contemporary icons have had a trajectory of having a similar concept when it comes to what icons are. With their mainly being a change in architectural styles to explore different concepts that make iconic architecture. The reason as to why symbolism is used in architecture is designed according to purpose. According to Seth, it is due to (32): • Religion • Politics • History • Nationalism • Tradition • Identity

Figure 1.3 Tower of Babylon

1.2 TRADITIONAL ICONS

Or in the Abrahamic religion of Islam where symbolisms of the religion can be seen. For instance, the Mihrab (niche) (Figure 1.7), which is the direction towards Mecca to which all Muslims pray, the Minaret (Figure 1.8) the tall tower from where the call to prayer is announced, however, in modern times, the minaret is more aesthetics rather than functional with the use of speakers in a mosque from which the prayer is announced, however it symbolizes and reminds one of Islam, or the dome (Qubba) (Figure 1.9) that symbolizes the vault of heaven (Academy).

Traditional Icons like contemporary icons focus on Politics, Identity, Nationalism. Such as the Roman Empire putting emphasis on spectator sports. The colosseum in Rome is a symbol for violence and politics. At it’s (Roman Empire) zenith, the Colosseum like other gladiator arenas was the center stage for entertainment. It’s huge walls and open roof, circular floor plan, symbolizing that the icon had no escape. More emphasis was put on icons in religion. It is sacramental as it holds meaningful weight in representation of the concept of religious values (Kenna 347).

Figure 1.7 Mirhab

Figure 1.8 Minerat

Figure 1.5 Tower of Babylon

It’s a medium through which the devotee can communicate to god. According to Seth, symbols in religion are positive long as the person believes in them and has a deep understanding and relation to them (22). Where relation to god is fueled by the belief in the symbols, the place of worship correlates to the house of God, thus the abstract in religion is portrayed by architectural principles to convey metaphors and symbols. For instance, religious veneration from the times of the Ancient Greeks and Romans and their methods in conveying religious symbolism through space and height and columns is an example seen in many temples like the Parthenon in Athens, Greece (Figure 1.6).

Figure 1.9 The Dome or Qubba

In a general sense for urban planning in traditional architecture, the influence of climate, nature, building materials plays an important role in designing. Creating architecture distinct in each area, is seen as a different language. For instance, climactic conditions influencing the building methods in hot climates where form focuses on ventilation and in cold climates form focuses on insulation. Dubai a city located in a hot climatic region in the Arabian desert (Figure 1.10), helps in understanding the role vernacular architecture plays in building an urban settlement. Traditional urban planning in Dubai before becoming the modern metropolis it is, pre-modern Dubai was influenced by the following factors: • Having a hot and arid climate • The scarcity in availability of building materials • Influenced by the religion of Islam, dictating the way of life.

Figure 1.6 Parthenon

The urban form was tackled by focusing on allowing wind circulation through the neighborhood by having narrow alleys (sikkas) as seen in Figure 1.11. ‘All the houses in the Bastakia (Figure 1.12) are formed around a center courtyard and have a minimum opening into the outside world’ (Rouhani 23). Wind circulation was also helped by wind-towers or wind catchers (1.13 and 1.14) an influence from southern Iran, that helps to capture cooler winds and direct them towards the living area of the house, replacing the warmer air. The common building materials used for houses were fossilized coral stone (Figure 1.15) which provide low thermal energy which is suitable because of the hot climate of Gulf region. Other insulating materials include insulating plaster which is applied to masonry walls which has pockets of breathable space which is made of beach rocks, coral and alluvial stones.

Figure 1.10 Map of Old Dubai

Some of the variety of traditional Dubai architecture used is mashrabiya (Figure 1.16). With designs of geometric shapes which helps block and diffuse sunlight and allows minimized natural light and fresh air while also providing privacy. A common type of home or living space that can be found is a barasti-style or ariish home (Figure 1.17) with a wind tower. Used in all seasons, providing shade and air circulation to live. Vernacular architecture also saw the rooms of houses usually opening to the courtyard as seen in Figure (1.12). Resulting in the exterior walls having very few openings, except ventilation holes that would be high up in the wall. Where it’s seen to symbolize privacy and modesty in the Islamic religion as seen in Figure (1.14) (Seth 66).

Figure 1.12 Bastakia Figure 1.11 Sikkas

Figure 1.16 Mashrabiya

Figure 1.13 Diagram of Wind Catcher

Figure 1.15 Fossilized Coral Stone

Figure 1.14 Perspective of Wind Catcher

The symbolism in architecture has gone through many evolutions from the specific language of religious symbolism to secular symbolism seen in public buildings from the 20th century where symbolism is experienced through site and context. “Symbols have always been an important part of an architect’s design vocabulary.” (Seth 27). In the 21st century the exploration of ‘BIG’ architecture by Rem Koolhaas, symbolism is maximized and subtle rather than intensified and detailed. “While much of the symbolism associated with myth, religion, folklore, art and culture has remained unchanged for millennia, a new form of symbolism has developed” (Seth 23). Thus, due to the technological evolution that humanity has undergone many times, it has enabled architectural theories and existing philosophies to evolve. With the meaning of symbolism and icons being related to religion, and morphed by the environment in creation of architectural languages in such as the Gothic and Baroque Style, it has developed over time in modernity to become a universal language spoken by many and understood by everyone.

Figure 1.17 Barasti style home or ariish

1.3 EIFFEL TOWER - PRETENSE FOR VERTICALITY

The Exposition being a success. Many admired the new-age icon. However, it received significant criticism from a group of people who formed a committee, which included painters, poets, and many other kinds of artists known as ‘Committee of Three Hundred’ as they were repulsed by its size and structure whose main purpose was to denounce the Eiffel Tower. For they saw the Eiffel Tower revolt its surroundings architecture and monuments (Figure 1.20). A case of acceptance an icon foresees, like the Eiffel Tower, is solely on the acceptance by the people.

An icon of transition between traditional and contemporary is the Eiffel Tower (Figure 1.18). It is the origin of verticality, a form present in most modern cities in the world, and has inspired many projects, like the Burj Khalifa, currently the tallest tower in the world. Becoming a symbol in the 19th century, it is in Champ de Mars, 5 Avenue Anatole. It was designed as the entrance to the 1889 Exposition that was held in Paris, France. Its construction started in January 28th, 1887 and completed in 15th March 1889 stands at 324 m mainly being wrought iron. Gustave Eiffel (Figure 1.19) who was known as an iron engineer came up with the design of the Eiffel Tower with his engineers Emile Nouguier and Maurice Koechlin.

Figure 1.19 Gustave Eiffel

Gustav Eiffel had tested the principles of the tower many times in different projects like bridges. The wrought iron being a new materiality for construction was not implemented well before the Eiffel Tower. As architects were attempting to use wrought iron to make structures like stone structures. Gustav Eiffel used wrought iron for the purpose of making an iron structure.

A critic who constantly revolved around denouncing the Eiffel Tower was Guy de Maupassant a French author, and member of the Committee of Three Hundred disgusted by the Eiffel Tower, had lunch at the base of the tower’s restaurant to avoid its view “inside the restaurant was one of the few places where I could sit and not actually see the tower!” (Smithfield 2016). Most of the committee would apologize publicly about criticizing the Eiffel Tower as over time it became a symbol for France, representing French values and the French revolution that brought the concept of democracy to the French people

Figure 1.18 Eiffel Tower

This was symbolized by the elevators in the tower are essential for the function of democracy, allowing all social classes the same opportunity to experience the tower. Gudek Snahdar a culture tourist said the concept of elevators foreign to the French at the time made it an equal opportunity for everyone to access the tower while if not for it the rich would be flying a hot air balloon. Gustav Eiffel very well knew how symbolic the Eiffel Tower was for France. Over time the criticism became less about the Eiffel tower, describing how iconic the Eiffel Tower is. The tower was meant to be deconstructed 20 years after it was built. However, it left a huge impression on the people which made it permanent says Iva Polansky (Palermo 2017).

Figure 1.21 Skecth of the Eiffel Tower Figure 1.20 Surroundings of the Eiffel Tower

Figure 1.22 Chrysler Building

Gustav Eiffel also made the Eiffel Tower a functional icon to prevent it from being deconstructed making it a place for scientific research as a meteorology laboratory in the third floor. The tower was also used in World War I as a place for communication for wireless telegraph transmitter for ships in the Atlantic Ocean. Time has helped it to become an icon used to describe France and a symbol for Parisian society (Thompson 1133). 131 years since the Eiffel tower was built, it brings 7 million visitors a year in which 75% are foreigners. At the time of being built becoming the tallest structure in the world for 41 years till it was overtaken by the Chrysler Building (Figure 1.22) in New York in 1930.

1.4 CONTEMPORARY ICONS Icons evolved over time with new innovations and so has architecture. The evolution of architecture from traditional to contemporary comes from the different approaches towards design of spaces and environments. Focusing more on the appearance of the environment rather than meaning. Contemporary architecture can be defined as minimalistic, focus on purpose and lack of ornamentation. Diverging from traditional architecture (Mouratidis and Hassan 01). Creating icons has come in the form of symbolism rather than heavy ornamentation.

Inspired by postmodernism and futuristic design with a globalized thinking icon in contemporary architecture can adapt in all parts of the world. Where cities around the world look alike, creating an architectural common language that can be understood by everyone. Creating common urban spaces and structures. In attempts of differentiation, architectural icons have attempted to outdo each other and stand out in their environments and competing cities (Mouratidis and Hassan 02). In contemporary architecture, symbolism in architecture is seen as “the symbol of the present in the sign of the past.” (Seth 32). Where modern architecture is constant attempts to have relation to the past, to step towards the future.

Analyzing the Eiffel Tower, the evolution from Traditional architecture to contemporary architecture, it can be realized understanding and approach to of design has evolved. According to the Oxford dictionary the meaning of contemporary is defined as belonging to or occurring in the present, where architecture has unified into a singular style and focus of being different. With verticality becoming a symbol for masculinity and low-rise buildings a symbol for femininity (Seth 35).

The city scape has often seen modern cities having high rise buildings. The case for which depends on the factor of availability of land or the intent of design. Hong Kong (Figure 1.23), the special administration region of China occupies only 25% of its territory for urban use, while 75% has been left unused. The tradeoff for the ratio has led to the conservation of the natural state of Hong Kong while also depriving of privacy for it’s citizen. Symbolizing Hong Kong’s ambition to grow vertically at the expense of density and human livability. (Lau and Zhang 118).

Figure 1.23 Hong Kong Map

Dubai, however, is a real estate-based economy that has grown to become a playground for architectural ideas. Transitioning from traditional Arabian architecture to the facets of modern contemporary architecture. In doing so has created a futuristic city with modern livable icons. Developing a skyline and innovative projects Dubai has reached the pinnacle of architecture and engineering.

2.0 DUBAI

2.1 HISTORY OF DUBAI

Along with them they brought their style of architecture. In Dubai, these people developed Bastakia in Al Fahidi (Figure 1.12). In 1958, Sheikh Rashid bin Saeed Al Maktoum (Figure 2.2) becomes the ruler of Dubai at age 30 and delivers his memorable speech ‘What is good for the merchants, is good for Dubai’ (AMO 154). For Sheikh Rashid to have this vision become reality in 1959 he met John Harris a British architect and is hired as the first town planner and develops the plan of Dubai in 1960 and an updated master plan in 1971.

To understand the forming of icons in Dubai. Its history is essential in understanding the present. Dubai is ruled by the Al Maktoum Dynasty which comes from the Al Bu Falasah clan established in Abu Dhabi. The clan is part of the Bani Yas clan which comes from southern Arabia. 800 people led by Maktoum bin Butti left Al Bu Falasah clan due to political turmoil in 1833 and settled in Dubai. Maktoum bin Butti established the Al Maktoum family in Dubai.

Dubai is a mixture of cultures which has influenced its style of architecture. Influenced by southern Iranian and Arab culture. Where there was migration of the Iranian people in the 1870’s and 1920’s due to political and economic regulations in Iran coming from the Iranian port of Lingah, in the Bastak region of southern Iran (Figure 2.1).

Figure 2.1 Migration of Iranian merchants to Dubai Figure 2.2 Sheikh Rashid bin Saeed Al Maktoum

‘Planning is not about vision, but about modern necessity’ (AMO 159). An aspect that John Harris incorporated in planning was the co-existence of the old with the new. Thus, old Dubai like Deira is dense while new Dubai is planned with flexibility. The area was under threat of being demolished. It was stopped by the British Architect, Rayner Otter supported by UK’s Prince Charles as he foresaw the historical significance of Bastakia (Figure 1.12) (Here dubaiasitusedtobe).

2.2 THE ROLE OF ICONIC STRUCTURES

Icons are a focal point in a community it is the compass for direction for people. It serves the community in an economic function. Helping to create jobs and security with investments and income with the public centric icons. That is the ideal scenario that an icon proposes for a community. Hosting events like the FIFA world cup or the Olympic Games the practicality of the investment is the main subject. Local communities around an icon might benefit from them in the short term, however in the long term the effects of these icons are short lived. Iconic stadiums in South Africa for the 2010 FIFA World Cup (Figure 2.3) have not been utilized since the event. Making the local communities wonder where the funds could have been used instead of a stadium. Dubai has therefore invested in icons that will be utilized and has a practical function (Fortune 2014)

The impact of iconic structures has a profound effect. For example, because of Sheikh Mohammed bin Rashid visiting different cities in Europe and North America, he was able to influence and create icons in Dubai (Whats on)(Figure 2.4). Taking inspiration from the icons in New York city or the icons in London.

Figure 2.3 2010 World Cup Stadium South Africa

Figure 2.4 Sheikh Mohammed bin Rashid (Center) Sheikh Rashid bin Saeed (Right) at the Emipre State Building.

3.0 ICONIC CITY

3.1 NEW YORK CITY Dubai being a modern icon, few cities can be compared with similar origins. New York City like Dubai grew from expansion for economic growth. New York was founded by the Dutch led by the English explorer Henry Hudson, found the island of Manhattan saw them establish a new trade outpost outside Netherlands. The intension of the Dutch was to replicate Amsterdam in this outpost. In 1626 Peter Minuit the 3rd Director of New Netherlands bought Manhattan for 24$ from the Native American tribes.

Dubai like New York experienced urban growth. Dubai’s settlements grew gradually. New York experienced such growth as well as it expanded towards Coney Island founded in 1609 it was an urban extension of Manhattan. Coney Island is known for its beach and natural environment merged with Manhattan with a bridge built in 1823. Resulting in division of established development and pre-established development (Koolhaas, 32). Coney Island lacking the urban density of Manhattan, to counteract it became a tourist spot like Dubai with its communities around beaches in Jumeirah.

The concept of owning property was foreign to Native Americans, distinct for their vernacular architecture, the idea of a permanent settlement was unknown, as they roamed freely across the continent. With the main concept of community within the Native American tribes was the people itself. When designing Manhattan, the Dutch followed a grid layout with straight line blocks (Figure 3.1), with confined constriction in building to avoid urban sprawl, which can be seen in modern Manhattan that is largely untouched. Dubai like New York grew initially with according to their natural surrounding near the Deira Creek.

Figure 3.1 Grid Plan of Manhattan (Map of Lower Manhattan)

Figure 3.2 Home Insurance Building, Chicago

A characteristic Dubai developed like New York City is its skyline. With linear urban form of growth, it also allows for the exploration of abstraction with relation to regulation from the government. The growth of skylines that have made New York iconic come from the regulations that are imposed on building. In 1885 the first skyscraper the Home Insurance Building (Figure 3.2) was built in Chicago, Illinois by Le Baron Jenney. The investigation of new forms of expression allowed by the Home Insurance Building was an inspiration for New York to grow. Chicago abandoned the uncharted territory of skyscrapers with the city placing a height restriction of 130 ft on all future buildings (Douglas 34).

With the invention of the elevator from Elisha Otis skyscrapers became a reality. The higher the building went the more in touch people become with the sky. Skyscrapers enabled the useable area in a plot to be multiplied by many floors. Changing the urban dynamic and exploring limitless possibilities in living. The development of New York from 1876 to 1932 (Figure 3.3) sees that change in skyline. Over the year’s skyscrapers have become a signature of the city. The attitude of skyscrapers has changed over the years as the philosophy of maximizing area for usage has changed (Koolhaas, 87). With the emerging of new cities, different architectural styles have been adopted. Dubai like New York took it as an example to what a city could be and understood what an iconic city could mean for its future.

Figure 3.3 Graphic Representation of New York Skyline

3.2 SHANGHAI The growth of China from the 1970’s comes from the governmental policies of making Shanghai (Figure 3.4) a global city that was designed to be an economic powerhouse for China. “During 1978 – 2000, Shanghai’s GDP achieved 6.5 times increase and reached 48.749 billion U.S dollars, with an annual growth rate of 9.5%. The city has evolved from an industrial and commercial city into a national economic center” (Yang 01). Though it is an economic fact, the economy of Shanghai is directly related to the architectural growth that can be seen in the city, allowing for forms to be expressed. Throughout the years the city’s updated cityscape through national competitions that were attended by international firms with the concept of “star system” or starchitects that got a base in Shanghai for its future projects (Delsante 44). Most famously, Rem Koolhaas has made an impression in China with the CCTV headquarters. Furthermore, with the development of an iconic skyline, the city expanded. With the development of rural settlements merging with the city’s urban quality, creating the city with satellite towns in the great area around central Shanghai (Delsante 45). The iconicity of Shanghai is success for all of China. While Dubai is different in term of the government structure, it is through the unconventional form of government, the city of Shanghai and Dubai have achieved such growth.

Figure 3.4 Map of Shanghai

Figure 3.5 Skyline of Shanghai

3.3 SINGAPORE The growth of Singapore came from desperation of survival. After leaving the union of Malaysia in 1965 due to political and economic disagreements (Lim 2016). The city-state’s reluctant independence was led by Prime Minister Lee Kwan Yew, carrying out policies that would see Singapore (Figure 3.6) transform under his rule from a small fishing and coastal city to a modern city (Figure 3.7). With iconic symbols that represent Singapore. Such as The Merlion a lion shaped head with a mermaid body, the national symbol of Singapore that represents the Singaporean (Figure 3.8). Figure 3.6 Map of Singapore

Since Singapore is a small city State, it has been able to manage the density of the city while providing for its citizens of 5.6 million according to the World Bank. The Marina Bay Sands, a microcosm of Singapore helps in understanding the mindset of a city that manages space. The Marina Bay Sands (Figure 3.9) is 929,000 m2 in area and is highly dense. That has a resort complex with 2,560 hotel rooms, 120,000 m2 convention center, a shopping mall, an art and science museum, two theaters, six restaurants, and a casino (Safdie 2011). The purpose of this project was to create an autonomous space within Singapore. For example, gambling is legalized in Marina Bay Sands, it is illegal outside the autonomous area, an example of offshore urbanism.

Figure 3.7 Skyline of Singapore

The project itself is a pioneer in architecture, creating a connection between three skyscrapers of 55 stories. The connection is 1.2 hectares, and is a sky park, that gives the view of the entire skyline of Singapore. The purpose of the bridge occurred to gain some green space and gain the views of the city as they were overpowered by the hotels adjacent to Marina Bay Sands. Since the Figure 3.8 The Merlion opening of the west façade (Figure 3.10) lets heat gain occur, the project has double glazed unitized curtain wall, which is energy efficient and reduces the heat. In some ways, the Marina Bay Sands is a lens through which Singapore can be seen (Safdie 2011).

Figure 3.9 The Marina Bay Sands

3.4 DUBAI MODEL The Dubai Model was a concept that Dubai used in developing the city. Like Singapore, it understood its geographic position in the world. Being at the crossroads of Europe, Asia, and Africa, it saw its potential in attracting investments as it did during the Coastal trade with India. Dubai after discovering oil in its territory planned to develop the city and attract investors and tourist. Sheikh Rashid bin Saeed Al Maktoum once said, “My grandfather rode a camel, my father rode a camel, I drive a Mercedes, my son drives a Land Rover, his son will drive a Land Rover, but his son will ride a camel.” This statement perfectly sums up Dubai, and to prevent Dubai from relying solely on oil it needed to diversify. The creation of icons is necessary to attract tourist for Dubai to have a long-lasting future. So much that in late 1990’s it was estimated that 10% of GDP was spent on developing the tourism sector. (Davidson 09).

With Dubai being largely underdeveloped in areas other than Bur Dubai and Deira in the 1970’s. Sheikh Saeed wanted to establish a port. In 1979, the Jebel Ali port (Figure 3.10) was established with the main purpose of linking global markets. It is now the 10th busiest port in the world.

The Jebel Ali area is also a free zone area allowing foreign companies 100% ownership, which has helped attracting thousands of companies. While it is not an architectural icon. The purpose of the port serves as a precursor to future iconic developments in the city. Allowing for flow of resources and future development in the area.

Figure 3.11 Dubai Media city

Dubai being an emirate with small local population. Needs foreign migrants to help make this infrastructure. What has followed is transnational urbanism, where the integration of ethnic groups mainly from different parts of world such as the Philippines and the Indian Subcontinent has occurred. However, what has occurred is the distribution of populations of certain ethnicities such as people from the Indian Subcontinent settling in areas dominated by them such as Satwa, Bur Dubai, and Deira, which has resulted in the discrepancy of ethnicities in an area.

Figure 3.10 Figure 3.10 Jebel Ali Port

Figure 3.12 Dubai Internet City

This also saw the development of Dubai Media City (Figure 3.11) and Dubai Internet City (Figure 3.12). To enhance urban development and to compete with international markets Dubai International Financial center was established in 2002, operations started in 2004. With the Jebel Ali Port being an engineering marvel that has brought investment. Dubai has learned from the ‘Bilbao Effect’ that architectural icons bring in investments that can diversify the economy.

3.5 BILBAO EFFECT Dubai taking the example of Guggenheim Museum of Bilbao (Figure 3.13) also known as GMB saw how an investment in an icon can attract people to visit and grow a community. The GMB located in Bilbao a port city in the Basque Country in Spain. Was suffering from failing, outdated industries. In the 1990’s the city was going through high unemployment rate, up to 25% (Morris, 2017). Resulting in violence and political independence, and environmental disasters like pollution, deterioration of urban life and a poor transport system. To change its fortunes. In 1991, the Basque Government started the project of a modern art museum among others to revitalize the city. Located in on the riverside on the north of the city center, GMB is accessible by railway line to the south and the Salve Bridge (Fig 24), (Morris, 2017). In 1997 the GMB was inaugurated. What was originally thought of as waste of public funds, brought growth to the community of Bilbao. Since then it has become one of the most important architectural icons in modern times. The Bilbao Effect’s success has many factors that has made it one. Such as accessibility for the community, integrating in the urban fabric of the city.

Figure 3.13 The GMB on the North riverside of Bilbao

Being a noticeable icon for anyone passing by in the city. The GMB also has strict economic policies. Museums owned by and operated by the state are usually running with a deficit. Unlike other museums GMB covers 70% of the operating costs by the museum revenue and 30% by the Basque Government (Figure 3.15) (Morris, 2017). To cover the operatFigure 3.15 Income of Guggenheim Museum Bilbao in 2019 ing costs the highest number of visitors are needed, attracting through special local exhibitions. According to (Figure 3.16) GMB has been able to attract an average of a million people to maintain growth.

Figure 3.14 GMB with Salve Bridge Figure 3.16 Number of Visitors of Guggenheim Museum Bilbao in 2019

With many cities trying to achieve the “Bilbao Effect”. Cities have taken inspiration from the “Bilbao Effect” while rarely succeeding. For instance, the Santiago Calatrava Milwaukee Art Museum (Figure 3.17) and KIASMA Helsinki Museum of Contemporary Art by Steven Holl (Figure 3.18) couldn’t attract the number of visitors that were projects to visit. In fact, the GMB is quite rare in an icon working for its intended purpose of rejuvenating the economy. The GMB is also subject of analysis. With the GMB attracting four million people after its opening it was a gamble. Number of visitors has fallen since its opening reaching an average of a million. With the GMB already an icon, it is the contents within the museum that get people to the museum.

Thus, with the ‘Bilbao Effect’ being understood as an economic stimulator, and growing communities, with outlandish architecture being the central point.

Figure 3.17 Milwaukee Art Museum

Figure 3.18 KIASMA Helsinki Museum of Contemporary Art

4.0 DUBAI ICONS

4.1 DUBAI WORLD TRADE CENTER - PREMISE FOR THE FUTURE (1979)

At the time the Dubai World Trade Center (Figure 4.2) was the only attraction in the West of Dubai on the way to Abu Dhabi. “The WTC, sits infallibly on a highway interchange, a symbol of a once easy, rational relationship between humans, roadways, and buildings.” (AMO, 163). The Dubai World Trade Center became the foundation for future development in the area, becoming the standard for future skyscrapers.

Oil was discovered in Dubai in 1969. Sheikh Rashid wanted to modernize the city. Taking inspiration from World Trade Center in New York. Sheikh Rashid plans for a World Trade Center for Dubai. John Harris initially designed the Dubai World Trade Center with three – five stories tall (Figure 4.1) (AMO 162). Sheikh Rashid envisioning a future skyline of Dubai made many revisions on the project with the final project having the height of 184 m and 39 stories, it was inaugurated on February 26, 1979 (AMO 162).

Figure 4.1 Original Design of DWTC

Figure 4.2 DWTC after Completion

4.2 DEIRA CLOCKTOWER (1964) The Deira Clock Tower (Figure 4.3) was built in 1964 and was one of the first architectural landmarks of the UAE. It was iconic as it was at the crossroads of traffic in Deira. The process of the landmark was by having the concept sketch from Otto Bulard of AST and architect Zaki Al-Homsi of Architecture Design Construction building the clocktower. The structure is built from concrete and is an arched structure, that is simple in design. It was said to have been a gift to the late Sheikh Rashid bin Saeed Al Maktoum (Belbin 2020) The construction of the clocktower was built by two dozen workers that had mixed the concrete by hand and built the monument under a year. However, it was damaged as the materials used in construction was unwashed salty beach sand, undergoing restoration in the 1970’s. In the present, the clocktower is still functional having the four clocks replaced, the clocktower is fitted with high-tech GPS sensors. It has continued to provide a useful purpose for the public.

The clocktower is functional as it indicates the time, aids in the control of traffic and a functional landmark and is unique compared to the existing landmarks, as it is not tall or horizontally expansive it serves the people, comparable to a pocket-watch. The clocktower is a modern heritage building and has helped in influencing the modern city of Dubai. Dawood Al Hijri, Director General of Dubai Municipality stated “Preserving our urban heritage and culture that we have inherited through generations, and the intellectual and creative legacy it has presented to us, is a historical responsibility,” (Belbin 2020). A reminder of creating icons has on existing icons in Dubai, has led to neglect. Therefore, the preservation of such icons is necessary in leaving the historical DNA of Dubai in understanding the sacrifices that have been made in shaping Dubai.

Figure 4.3 Deira Clocktower

4.3 NASSER RASHID LOOTAH BUILDING (TOYOTA BUILDING) (1964) The Nasser Rashid Lootah Building known as the ‘Defense Roundabout’ and more popularly known also as the Toyota building has become an icon that has seen Dubai transform from the 1970’s to the present. In the 1970’s a Toyota badge was placed on top of the building giving the moniker the Toyota Building (Shurafa 2018). The building had no Toyota showroom, but an ad was placed as part of an ad contract on top of the building. Since it’s inception it has been a landmark that is often called by locals and residents as the Toyota Building and has seen the growth of the city with the rising of skyscrapers (Figure 4.5). However, two years ago in 2018 the Toyota sign was removed due to the contract finishing. In an article by the National, an urbanist Yasser Elsheshtawy said, “It would be a loss if it was demolished”. “Because it’s so visible, it forms part of the visual heritage of Dubai and it’s history and development, even though architecturally it’s not that exciting. It’s a massive concrete block.” (Dennehy 2018). Representative of the architectural style that was present at the time. Dubai was characterised by these concrete residential blocks during the 1970’s – 2000’s. However, what made this building iconic and the impact it had on it’s surroundings was, the acceptance by the people as a landmark as is easy to remember by passers and those living there.

A resident describing the impact of the building said “Back then, it was hard to tell a friend where you live, so people decided to call it Toyota Building, much like how people called Khalid Bin Al Waleed Road as Bank Street in Bur Dubai. It was easier, because the sign can easily be seen from afar. The flashing neon advertisement became the landmark of Al Wasl area that was then surrounded by nothing but sand and a few low-rise villas,” long-time resident and Indian expat Mohammed Danish told Khaleej Times (Tesorero 2019).

Figure 4.4 Toyota Building Prior to Development

Figure 4.5 Toyota Building in 2018

In the current context the building sits behind the Coca Cola Arena and City Walk a development by Meeras and near Dubai Mall and Burj Khalifa. Thus, pre-dating the ultra-high skyline of Dubai. The surroundings of the Toyota Tower have grown creating neighbourhoods and communities while it has remained the same except for the fact the ad has been removed. But to anyone, who has lived here for some time, everyone knows the Toyota Tower. As Mr Danish has said “Tell a taxi driver to bring you to Nasser Rashid Lootah Building and he will get lost, but mention ‘Toyota Building’ and he can bring you (here) without the help of Google maps.” (Tesorero 2019).

4.4 NATIONAL BANK OF DUBAI (1998)

The National Bank of Dubai (Figure 4.6) was built by Carlos Ott of Norr architects in 1998 and is located on the Dubai Creek, Deira. There are several factors that makes this building unique. • •

One of the first modern buildings in the UAE. It was deliberately made to be iconic by emphasizing symbolism and metaphors

Thus, the original skyline takes a drastic shift in the 1990’s adding value to the Dubai Creek. The building was the first to have the concept of the dhow, more specifically the shape of sail “hulls, the mast and the sail” (Qabbani 2011). This concept would also have a profound effect on the Burj Al Arab (W 2020).

The color of the dhow shaped façade is distinct in gold as mentioned by the architect “Sure enough , when we finished the building and put up the glass, to our surprise people were going across the creek looking at the sun’s rays being reflected in different ways as the sunset changed its colour,”.And went on to mention “We tried to do something iconic, but it also had to be timeless and had to have strong qualities. We knew that we were not building for 50 years.” (Qabbani 2011). The National Bank of Dubai is one of the first buildings in Dubai that was built for the purpose of being iconic and how can a distinct volume add to the skyline of Dubai in attempts to stand out.

In doing so heavy symbolism was required for the building. For instance, gold being featured in the façade was due to Dubai’s history in trading, in fact, there is some gold in the façade up to five to six kilograms of gold for the glass. The building is meant to symbolize the presence of NBD in finance of the country, in creating a timeless art Ott has said “A bank building in my opinion has to create the image of something very classical, very solid - something that will stand by in the ups and downs that our life takes us through,” (Qabbani 2011). Making a seamless transition through out time while remaining constant.

Figure 4.6 National Bank of Dubai

4.6 EMIRATES TOWERS (1999)

4.5 BURJ AL ARAB (1999)

In the 1990’s, a design competition was launched by Sheikh Mohammed bin Rashid, the ruler of Dubai, to make a landmark for Dubai’s growing financial hub. The request of the project was to have twin towers that are double the height of the Dubai World Trade Centre. The architect of the project is Hazel Wong. In the twin towers (Figure 4.8), the taller tower is an office tower 350 m tall and the smaller tower a hotel and is 305 m tall, both the buildings are connected by a central podium, the Boulevard (Denman 2020). The towers are clad in aluminum panels and have the feature of changing perspectives. Wong stated, “key objectives in the design of the Emirates Towers was to create the composition and placement of the twin towers to appear to be constantly changing, depending on the point of view and time of day” (Denman 2020).

Burj Al Arab (Figure 4.7) was Dubai’s first project that put Dubai on the international stage. It built was on reclaimed land. Accessed by a bridge to mainland Dubai. Land reclamation allowed the project to explore new complex and innovative ideas. The project was the first to explore offshore urbanism in Dubai “territory with its own sovereignty, its own laws, in which architecture is a performance”. (Petti 288). Burj al Arab exists on a land unrestricted to its surrounding which has permitted the exploration of different types of urban fabrics on the coast of Dubai.

Enabling Dubai to increase its coastal surface area. Located in Jumeirah. The Burj Al Arab is located with low rising buildings in its surrounding. Providing un-obstructing views of the Burj Al Arab. The Burj Al Arab today is the most iconic symbol of Dubai. It was Dubai’s first icon, that made people want to visit the city. Creating the marketability for the city. The shape of the building is simple to remember, which makes it an icon as it also symbolizes the Emirates history.

Figure 4.7 Burj Al Arab

Figure 4.8 Emirates Towers

The construction for the project started in 1996 and was completed in 1999, upon its completion it would become the 10th tallest building in the world (Denman 2020). The time period of 1990 to 2010 saw the emergence of many icons and the Emirates Towers is a distinct icon noticeable in making an impact on the skyline. According to the architect Hazel Wong creating a tall building wasn’t the main goal of the project. “The goal was just to come up with very simple elegant forms and deliver a building that fits into the context and the programme.” (Construction Week 2007). She believes that size and scale play a significant role in defining a project and possibly making an icon. (Construction Week 2007).

4.7 BURJ AL KHALIFA (2009) The Burj Khalifa (Figure 4.9) is located on 1 Sheikh Mohammed bin Rahid Blvd – Downtown Dubai. The concept of the building is derived from the desert flower (Figure 4.10) from the local vegetation of Dubai and the symmetrical and Islamic architecture (Figure 4.11) (Abdelrazaq 2993). The project area 460,000 m2. The Burj Khalifa is the tallest tower in the world, 828m tall and is composed of 162 floors and three basement levels. The composition of the tower is residential, hotel, commercial, offices, entertainment, leisure, among others. The Burj Khalifa was designed to be central space of the new development around it (Abdelrazaq 2993). The Burj Khalifa was completed in 2009. The construction of the icon saw the latest updates in material technology, structural engineering theories, Wind engineering, seismic engineering, computer technologies and construction methods (Abdelrazaq 2993). The floor plan is Y-shaped (Figure 4.12) and has maximized the views around the site, the system is also described as “buttressed core” (Subramanian 03). “The massing of the tower is around central core with three wings. Each of the wings consists of four bays. At every seventh floor, the outer bay peels away as the structure spirals into the sky” (Abdelrazaq 2993). The tower is built by reinforced concrete with high performance concrete. There is also a structural steel braced frame from level 156 to the highest point of the tower.

Figure 4.10 Red Spider Lily

Figure 4.11 The Great Mosque of Samarra

Figure 4.9 Burj Khalifa Figure 4.12 Typical Plan of Burj Khalifa

An important criterion in the construction of tall buildings is the wind factor. The Burj Khalifa’s shape is influenced by the wind. The variations seen in the tower’s shape is the result of the wind vortices that interact differently at different shapes and frequencies. The resulting irregular wind interactions with the tower has nullified the impact of the wind on the tower’s stability (Abdelrazaq 2995). The Burj Khalifa was made to be impactful, creating the tallest icon is undisputable around the world. Though many countries have attempted to create the next tallest structure in the world. For instance, the Jeddah Tower in Saudi Arabia, it was stopped short while after some floors of construction. Creating the tallest structure, has a lot to do with running costs and economics. The feasibility of construction is an important question. Emaar was able to answer. It is an icon because as mentioned before it is the tallest building in the world among other tall structure accolades (Facts and amp; Figures). It has become a centre for retail activity and leisure diverging from Bur Dubai and Deira and Dubai Marina. Coming at the crossroads of both regions of Dubai becoming the central focus of the whole country. As people would travel from Ras al Khaimah or Abu Dhabi to visit the place. Burj Khalifa was the centrepiece to its surroundings. Creating a living organism that allows for movement from Dubai Mall to Burj Khalifa. The influence of the icon due to its size is unparalleled, thus the icon can be viewed in many distant parts of Dubai, becoming a symbol for the Emirate and symbolising the country.

4.8 ETISALAT TOWER 2 (2007) The location of the Etisalat Tower 2 (Figure 4.14) is in Downtown Deira. The main material used is concrete in the structure and façade. The height is 185 m. It is a 33-story office building, three floors are below ground. The construction started in 2004 and was completed in 2007. The project was designed by Shankland Cox (Property Search). The façade system is exposed concrete and is light brown. The main occupants are governmental offices (Serdica and Gerometta)

4.9 DUBAI FRAME (2018) One of Dubai’s latest icons that was initially designed as an anti-icon is the Dubai frame (Figure 4.15). It’s 150 m in height, with a void in the center. The purpose of this was the volume of icons already in Dubai. Rather than making another skyscraper, the Dubai frame is functional in providing views of old Dubai and the vertical icon on Sheikh Zayed Road. While there are already several skyscrapers around Dubai. The Dubai frame project was chosen from an international competition in 2008 and was originally designed by Fernando Donis. He said in making the design “I proposed a void. Something that would frame all the other landmarks.” (Wainwright 2018).

The Etisalat Tower is not internationally known as an iconic building, locally it has been seen virtually by everyone. It is a sight that most come across as they travel towards the Emirate of Sharjah. The tower carries on it a globe shaped antenna, making it recognizable. It separated the old and new Dubai (Baftiroska 2016). Though it is never mentioned as icon, it has been a backdrop to the iconic skyline of Dubai. The surrounding has the Zabeel park, the Dubai Frame and is near Burj Khalifa and Dubai Mall.

Figure 4.13 Etisalat Tower 2

Figure 4.14 Dubai Frame

4.10 THE MUSEUM OF THE FUTURE (2020) A remnant of time that moves towards the future The Museum of the Future (Figure 4.16) integrates an Arabic poem by Sheikh Mohammed bin Rashid, Vice President and Ruler of Dubai, and modern technology with solar powered LED lightbulbs that light at night (Warner 2020). The museum of the future is seen as an opportunity for future exploration in science and technology. The Museum of the Future is near the Emirates Towers on Sheikh Zayed Road. The main structure is 77 m in height and 30,000 m2. The exterior façade of the structure is designed by Killa Design. It is detailed with 1,042 panels of cladding with Arabic calligraphy on it and has been entirely manufactured by Robots. The museum will have seven floors, each providing a different experience (Schumacker 2020).

The Museum of the Future is not operational yet. The impact it has made as an icon that challenged the institute of a museum, has made it different. It is also a steppingstone for a museum culture. The shape of Museum of the Future has made it an icon. As it stands out from the existing icons. “The museum will explore the future trends and opportunities in science, technology, and innovation. By making Dubai a testbed for emerging technologies, our aim is not merely to build another architectural marvel, but to build the foundation of tomorrow,” explains Sheikh Mohammed (Schumacker 2020). The surroundings of the future icon are the Emirates Towers and the Dubai International Financial Centre.

For the structure to be curved, it is composed of thousands of interlocking steel triangles. Killa Design also used computer-controlled machining tools to cut more than 1,000 molds that support the fiberglass and stainless-steel system on the façade. Shaun Killa the head of Killa Design stated, “The entire facade system is unitized, which means the structure, the windows, the insulation, and the waterproofing is all one system,” he says. “That has never been done before” (Monks 2019).

Figure 4.15 Museum of the Future

5.0 ENIGMA

Chapter 5.1: Iconic Communities of Dubai Iconic projects have always been home to Dubai. With the Emirates success heavily depending on iconic projects to bring tourism and income. Creating concepts for a community living. Dubai has offered variations in the types of living a resident would want. Jumeirah Islands (Figure 5.1) is a gated community which has allowed a residential complex with 50 artificial islands surrounded by water in the middle of the community which forms clusters. Gated communities are common in many parts of the world. For this project to be unique the concept of gated community was explored with the urban fabric of architecture in land surrounded by water on mainland Dubai.

The project was one of the first in allowing communities to explore the dimensions that can be explored with waterways. However, in trying to explore new types of communities. It was a disaster with residents in Jumeirah Islands criticizing the terrible smell and mosquitos that became common (Figure 5.2). The water having high levels of ammonia exceeding the levels set by the authorities creating an algae pond that is terrible living experience for residents. (Huang 2010). The freedom of having reclaimed land allowed for flexibility to be explored without deterring the existing fabric of mainland Dubai that was experienced with bad management in Jumeirah Islands.

The iconic ‘Palm Jumeirah’ project was conceived under the umbrella of ‘The Palm’ (Figure 5.3) by Nakheel. Palm Jumeirah has gated communities, retail, hotels, and malls. Palm Jumeirah was the only completed functional project of ‘The Palm Island’ project. ‘The World’ and ‘Palm Jebel Ali’ though built have not been utilized due to economic constraints. Palm Jumeirah adds 50 miles to Dubai’s coastline. Palm Jumeirah started construction in June 2001 and by 2009 it was completed to move in. The Palm project is connected to mainland Dubai by a bridge exploring offshore urbanism, previously discussed in the concept of Marina Bay Sands in Singapore. The Burj Al Arab is the antecedent, to Palm Jumeirah as it explored this concept of an autonomous community on a large scale compared to Marina Bay Sands (Dehaene, De Cauter, 289).

Figure 5.1 Jumeirah Islands

Figure 5.3 Proposed Palm Islands

Figure 5.2 Jumeirah Island Sewage Problems

The Palm Jumeirah Island being an iconic community has become a tourist experience. Being the centerpiece of New Year’s Shows where fireworks are displayed. However, with the design being shaped like a palm it has created a litany of issues. Such as foul odor due to the drainage system, with non-corporation from the maintenance companies Nakheel Asset Management and Design (NAMAD) and Imdaad, confusing the residents and avoiding blame (Baldwin and Hilotin, 2009). With the forming of algae on the shoreline, if the issue is ignored it can reduce the oxygen levels in the water, causing harm to marine life (Oatway, 2009). In 2009, a report by the New York Times stated the Palm Jumeirah Island is sinking at a rate of 0.20 incher per year. (Jacobs, 2018).

With Dubai’s iconic structures it has become the 7th ranked most visited city in the world. Gone beyond its expectations of being an iconic city. Dubai being one of the first cities in the Arabian Gulf to be a metropolitan city, it has achieved the target of diversification and growth by investments in its iconic communities. Though it has come at a cost of environmental impact, it has come a long way from 1975. In 1975 (Figure 5.5) there were 26,000 buildings to 134,000 buildings in 2017 (Figure 5.6). Indicating the exponential growth of communities in the Emirate and diversifying the economy relying Figure 5.5 Number of building built from 1975 to 2017 less on oil as indicated by the CEIC Oil Production dropped to 2,533 barrels a day in September 2020 (Up-to-date Chart &amp; Data)

Figure 5.4 Broadacre City by Frank Loyld Wright

With the urbanism in Dubai being related to the unification of the Emirates. The connection between Abu Dhabi and the Northern Emirates going through Dubai. Dubai reflects the plans proposed by Frank Loyld Wright in Broadacre City in 1927 becoming an automotive city. For Dubai to reduce this sensation, the city has explored the infrastructure in urban life with projects previously discussed.

The concept of community in Dubai has reduced the reliance on automotive transportation. Centered on icons that are compatible with Dubai without the exploitation of offshore urbanism Dubai has resulted in successful communities contributing to the local economy. For instance, City Walk located in Al Safa st - Al Wasl, Dubai has residential apartments, shops, restaurants and emphasis on pedestrian movement, this is rare in Dubai as it is a new concept that has been introduced.

Figure 5.6 Number of Buildings built specifically from 2015 – 2017

Chapter 5.2 Transnational Identity Currently, with Dubai experiencing this growth. It has resulted in the people choosing to work and live in Dubai. Creating communities with identities. For instance, a South Asian identity, in parts of Dubai, such as Karama, Deira, Bur Dubai (Figure 5.7). With this flow of people Dubai has experienced the local population migrating to different parts of Dubai, in order to preserve their culture. Dubai developed into a multinational city, creating opportunities for the locals and expats. This has led to Dubai becoming a land with icons but no identity. As most locals have blended with foreign culture, brought by the changes in the architectural language by the private sector that has influenced the lives of locals. “It is the worst type of feeling that you are a stranger in your own country. The locals feel the need to create an identity for Dubai that is related to Arab heritage.” (Seth 76-77) This is, however, a policy that was taken by Sheikh Rashid to eradicate the past to make way for the future. In hindsight, the impact of the local culture was not felt in the past. But, in the present its presence is needed to link with heritage. “The private sector seems to have taken over, with emergence of powerful real estate companies shaping the skyline of Dubai and maybe undermining the welfare of residents.” (Seth 68). It has led to overbearing influence of icons on all people, questioning are these icons beneficial.

Chapter 5.3 The Use of Icons Relating to Community Living

The migration of people to Dubai happened before the founding of the UAE, it has continued to happen in large volume of people in recent history. The demographics of UAE according to Global Media Insight (Figure 5.8) has Indians as the largest foreign nationals with 27.49% of the country’s total population, followed by Pakistanis, Bangladeshi’s and Iranians, while the local population makes for 11.48% of the country’s population. The expat population have settled in areas of Al Karama, Al Muhaisnah, Al Qusais, Satwa, Bur Dubai, Deira. Satwa, Bur Dubai, and Deira are densely populated areas, while Al Muhaisnah, Al Qusais are areas that are near to neighboring Emirate of Sharjah.

The production and manufacturing of such concepts of creating luxury for the purpose of monetary value has led to the surplus and inflation of such communities. The creation of a purposeful icon for a community is lacking in Dubai. The media, has influence in the creation of Icons. Dubbing a new project as “the next new Icon” tends to lead people in believing it will be an icon. In recent history. Icons have not been made for the purpose of growing communities. In recent times Dubai has had Icons as luxury statements. This is changing with the new Museum of the Future, and future projects.

Figure 5.4 Al Karama Figure 5.8 Demographics Infograph

While icons have helped in creating communities, in the UAE, they have created an imbalance and a hierarchy in community living. “People live excessively here.” (Seth 82) referring to the concepts of community in Dubai. With communities like Arabian Ranches (Figure 5.9), Palm Jumeirah, Jumeirah Islands.

Figure 5.9 Arabian Ranches

Thus, Icons so far have been for displaying the luxury Dubai has to offer and has neglected the same focus and attention on projects that can help and grow communities.

6.1 INTRODUCTION

6.0 CASE STUDIES

After the research was conducted. The following case studies have been selected for the fact that they are icons, that embody the concept of community, or help enhance a community. The case study will asses how they became iconic and how they relate to the community. • • •

The CCTV HQ Beijing, China. The Louvre Abu Dhabi, in UAE The Interlace Project, Singapore

The case study will help in understanding how these icons operate and work in helping communities. How they can help for the future project as well, in enhancing a community.

PROJECT INFORMATION Developer: China Media Group (State sponsored) Owner: China Media Group Architect: Rem Koolhaas, Ole Scheeren (OMA) Engineer: Ove Arup and Partners Main Contractor: China State Construction and Engineering Corporation Location: Beijing, China Construction Started: 1 June 2004 Completion: 16 May 2012 Area: 472,000 m2 Floor Area: 389, 079 m2 Floors: 51, Height: 234 m Lifts: 75

PROJECT BRIEF Figure 6.2 CCTV Headquaters Icon

6.2

CCTV

HEADQUARTERS

China wanted to expand its channels from 18 to 200 and compete globally. For the new headquarters China Media Group held an international competition in 2002. In the brief China Media group’s terms were all the functions for production, management, and administration would be in the chosen site but not necessarily in one buliding. OMA was selected for its unique design of two buildings being connected by a bridge. The aim of the project was to symbolize new Beijing. OMA came about the loop design for the CCTV headquarters.

Figure 6.1 CCTV Headquarters View

REM KOOLHAAS, OLE SCHEEREN Rem Koolhaas, Ole Scheeren, David Gianotten. On the collaboration with Chinese counterparts Rem Koolhaas stated the building “could never have been conceived by the Chinese and could never have been built by the Europeans. It is a hybrid by definition. It is also a partnership, not a foreign imposition.” Something Koolhaas clearly stresses multiple times in the presentations that Koolhaas has took part in.

Ole Scheeren stated “form follows fiction” in relation structures that want to be built rather than building structures that have to be built. But the key is to have in mind function while designing, to get to required result in design.

Figure 6.3 Ole Scheeren (left) and Rem Koolhaas (right)

Figure 6.4 Proposed Beijing Plan for the city.

CONTEXT The old China Media Group Headquarter became outdated. CCTV planned to have a new headquarter in the Beijing business district. CCTV issued a bid invitation to invite architects around the world to participate in the design of the new headquarters. The building is located in the Central Business District on the east side of East Third Ring Road, Gunghua Road, Beijing, China. The site of the CCTV at the time was located around redundant factories. One of the main attractions for Rem Koolhaas and OMA to take part in this competition was that they didn’t have to take into account the surroundings of the site. Koolhaas has said “the actual point of skyscraper – to increase worker density – has been lost. Skyscrapers are now only momentary points of high density spaces so far apart that they don’t actually increase the density at all” (“Kool Enough for Beijing). To make the CCTV headquarters different. It isn’t different for the sake of being interesting in design. But has integrated fiction and form to complement purpose. Thus ideas for the CCTV project with respect to proposed future outlook of the area, would be a challenge for Koolhaas and Schereen and explored upon collaboration rather than isolation. Vertical buildings being primarily isolated with other floors of the building. Schereen stated “So we took this needle and bent it back into itself, into a loop of interconnected activities.”(TED talk, 2016)

Rem Koolhaas stated he was looking to contribute for contemporary look for the historic city of Beijing. The project was meant to be the centerpiece of the new business district in Beijing. The project went on to have an impact on the character of the city. It became known as “The Pants”. As a taxi driver thought it looks like pants. It has become a symbol of the city, where it has been featured in many higly publisized magazines.

Figure 6.5 CCTV Headquarters, Street View

Figure 6.6 Project Site Plan

CONCEPT

DESIGN STRATEGY

In the overview for the project, it was mentioned in the future there would be 300 skyscrapers in Beijing. The goal for OMA would not be to have another skyscraper that would compete with height. Thus the concept of CCTV would be design that would achieve different types of circulations and views that can be discovered. The design took shape of a loop. The plinth with two towers with a slight slope joined be a cantilever bridge. The project guidelines from CCTV were to not just have a new office space but have a space for CCTV to innovate. The new building would need to support a many new programs that would require space. Koolhaas developed the loop shaped structure.

With the area being 405,000 square meters the size of the project is meant to represent grand Chinese palaces. More specifically the Imperial Palace (Ole Scheeren, interviewed by Duan Wu). The complexity of the CCTV project also takes shape from the traditional Imperial Architecture in China that Koolhaas took inspiration from. Koolhaas also wanted a contemporary portrayal of imperial Chinese Architecture with the focal point being “big” architecture. The CCTV being a continuous loop. The spaces that are in the CCTV are the horizontal and vertical sections that establish the urban site. (Ma 40).

It would be a continuous loop with sub-sections with different functions. Rem Koolhaas also decided not to make the loop with the plan being a square. Koolhaas developed two towers that lean towards each other connected by a cantilever. The most important feature that has been implemented in its design is the continuous movement that is needed in a broadcasting company. While making the building Rem Koolhaas extensively studied Chinese architecture such as the Forbidden City, Beijing, China. With the structure being big and grand it took inspiration from local Chinese architecture. Like the idea of the gate shape. The shape also comes from the concept of having a green ground to maximize the green spaces of the site to provide a public space.

PYRAMID

Figure 6.7 Concept Diagram

Figure 6.8 Forbidden City, Beijing

Open Space Water Body

Another aspect of Chinese architecture incorporated in the CCTV headquarters is the use of tunnels that connects different parts of the building. It is a common feature in traditional Chinese architecture, for instance in Ming Tombs. Thus with the implementation of traditional Chinese architecture the entrance of the building is invisible, with this partial permeability the access of the building is not given to all visitors. Like in the Forbidden City, which was built by the Ming Dynasty. The Forbidden City helps in the understanding of the direction in which Rem Koolhaas wanted to take the CCTV HQ project, which is attempting to have courtyardsa nd open space floor plan.

KEY ELEMENT The project studies the verticality of buildings. Denouncing height for creativity. The CCTV headquarters engages with the cityscape.

Figure 6.9 Concept of Folding

The L-shaped continuous loop design with a cantilever overhang of 75m outwards it has enabled the CCTV headquarters to forge a community with the continuous interactions between the 10,000 people that work in the CCTV headquarters.

Figure 6.10 Concept Connection Front View

For the design to take shape. Ole Schereen stated “Maybe we could best describe it as a tube folded in space. All the outer surfaces are covered in diagonal mesh (Figure ) and this mesh is folded and allows the weight to flow around the building until it finds the ideal path to the gound.” (Ole Schereen in China’s Rise, The Times, August 9th, 2008)

The concept of the building also reflects the philosophy of China. With contribution from everyone in principle. With movement of people all across the building. Something not seen in all vertical skyscrapers. Where people are limited to a certain area. The skylight from the overhang area the cantilever where 160 m below can be seen. The two towers lean at 6 degrees, with the L-shaped cantilever overhang of the tower starts after 36 floors and is 13 floors high.

Figure 6.11 Diagrid Lines in North Elevation Figure 6.12 Ole Schereen observing the urban layout

Diagonal Structural System. The system that helps in transfering the loads to the ground. They are constructed of steel as they are high tensile and have compressive strength. They integrate the columns, diagonals and bracings into one system.

Figure 6.13 View from the cantilever

Figure 6.14. CCTV cantilever view from the ground floor

MATERIALS

DIAGRID FRAMING SYSTEM

The two towers are tileted at 6 degrees and are connected by the cantilever bridge at the top. For the structure to be safe. During the initial design phase tests were done on the model. The most important being the shake table test. The test revealed that CCTV headquarters has a seismic fortification intensity of 8.49, which surpasses the Beijing local design standard of 8.

Slabs

First Layer: Main Steel Structure with Reinforcement Reinforcement Layer: Additional Orthogonal Steel Structure Second Layer: Diagrid Steel Structure Vertical Structure Third Layer: Diagrid Steel Structure

The diagonal lines are the result of forces that are needed to balance the structures. The design of the diagonal lines has changed since its initial design for the competition. The design is the result of a highly sophisticated engineering process that has optimized the building structural performance. They are not random though they may seem so. They are the result design calculations. Which shows the CCTV headquarters to have a transparency in its structural design (Caroll, Chris and Gibbons 2008).

Inner Glass Facade Facade Grid Structure Outer Glass Facade

Last Layer: Outer Steel Structure with Reinforced as the First Layer

Figure 6.15 Vertical and Lateral Load

Figure 6.16 Diagrid Framing System

BUTTERFLY PLATES

The system helps to reduce the stress concentration and assist in the smooth transfer of loads in the diagrid system. Due to the building site being in a high seismic zone in Beijing. To ensure this safety the building achieves this by its external skin of leaning columns, horizontal beams and triangulated bracings forming a network of diagrids in an extremely strong closed braced tube structure. This external diagrid structure is also expressed boldly in the building’s façade. Which reinforces the transparency between structure and architecture, the main conceptual philosophy for the buildings design. The internal structure is supported by vertical columns and steel cores which diminish in size progressing up the building height, in tune with the shape of the leaning towers. The columns emerge and terminate up to the height of the building, again influenced by the angled towers.

Transfer trusses are located at various levels to collect these column loads into the cores and external structure. The Diagonal Grid system is supported with beams. The Triangles are connected by nodes and rings, with the intersection of nodes. The diagrid system allows for the freedom in design. As the diagrid system allows for the load transfer for the internal cores to transfer minimal in gravity loads. The floor slabs do not transfer the lateral loads due to the diagrid system. The floor plates do not need to be in the same shape on each floor. Which also results in less internal columns required resulting in more open space for the 10,000 people to freely move around (Caroll, Chris and Gibbons 2008).

Figure 6.17 Butterfly plates

FOUNDATION - PILED RAFT

TRUSSES

The foundation used for the CCTV headquarters is the piled raft foundation. To evenly distribute the weight the raft thickness varied from 7m in tower 1 and 6m in tower 2 to the minimum of 4.5m Since the forces acting on the building are through out the site. The foundation is set beyond the tower to provide stability. The depth of the foundation is 20m. The foundation has many layers. Each layer’s depth varies (Dong, Lau and Lyall 2013)

The truss while not seen, it is hidden for design aesthetics of the CCTV headquarters. They link the external columns and the steel core. The connection is made through the pin-joint. The trusses are span the bottom two floors.

Top of the Raft

The loads above the bottom two floors of the overhang are transferred to these trusses. The trusses transfer the loads on to the diagrid system. The major trusses are located at the base of the building podium to support the above loads.

Differential settlment for the foundation is present. The differential settlement is when the buildings piers settle unequally which can result in damage to the structure. For the CCTV headquarters the total settlement is estimated less than 100mm, the differential settlement is kept to 1:500. 7m

Bottom of the Raft Figure 6.18 Column embedded in Raft Foundation

Figure 6.19 Cantilever in CCTV while construction

ICON RESPONDING TO THE COMMUNITY Since the CCTV headquarters is in a seismic zone. The materials used have to accommodate for the building to be structurally strong. The main materials used were concrete and steel which is common in all skyscrapers.The CCTV headquarters main material was steel, where 125,000 tonnes of steel was used. Structural materials for the composite core is steel. The columns are concrete encased steel. The floor spanning is steel. Steel is used due to the hardness, tensile strength.

The CCTV HQ is considered an icon for its shape that has made an impact on the city skyline of Beijing. Creating space and volume of architecture not familiar. That has been expressed in this way. The project is similar to Rem Koolhaas’s exhibition ‘Journey to the Courtyside’ (Kormann and McKibben 2020), that saw nature being placed in a metropolitan city. The CCTV is similar of having a space in a metropolitan area that seeks connection rather than seclusion. This is seen in Figure 6.20

The second main material used for structure was concrete. Total of 133,343 m3 of concrete was constructed for the foundation to support the two towers. Since the base has to be heavy to support the weight of the two structures. 1242 reinforced concrete boards piles in a dimension of 33m long and 1.2m diameter and 7m thick reinforce concrete slabs were used. Concrete has a high compressive strength property. To combine steel with concrete would result in strong tension and would increase the tensile strength. Concrete also has strong fire resistance.

Figure 6.21 Prority to Green Open Space

Thus, the concept of a union and harmony is seen in the CCTV HQ. Similar to the Marina Bay Sands in Sinagpore Figure 3.9, the CCTV HQ has tried to link as many activities as possible, by the shape of the building.

Figure 6.20 Trusses in CCTV while construction

Figure 6.22 Linking

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CIRCULATION The loop of the building is the circulatory system. The CCTV buildings circulation is a continuous loop. However the whole site is a mini city allowing for circulation. Creating alternative movement for people Koolhaas and Schereen on purpose have made the circulation of these structures seem like moving in a mini city, within the city of Beijing. To replicate the feel of Beijing in the buildings as well. With a population of 10,000 people moving in the CCTV structure. Circulation has been given priority with the shape of the structure.

PROGRAM

Administration

News and Broadcast

Business

Broadcasting Transmission

Cafetarias

VIP Areas

However the circulation of the headquarters branches to the TVCC building as well. The TVCC building houses finance, commerce, trading and information. Program Production

Lobbies

Breakout Areas

Visitors Circulation (Loop)

Cores

Parking

Figure 6.23 Circulation Diagram

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Primary Technical clusters (program production, broadcasting center, and news). Social clusters (meeting rooms, canteens, chat areas, informal spaces for people to meet and exchange). Building is a hybrid between the technical and social. Filming areas and production studios are outside of the main building in the Media Park. The space useage in the CCTV headquarters is divided into main zones. Program Production is approximatly 26%, News production is 15%, Program offices is 14%, Broadcasting is 8.6% with staff facilities being 6.45%. with parking taking approx. 14%. There are two lobby’s on the ground floor and a lobby on the top floor where the administration is. Recreational is on the ground floor or the bottom of the tower. The TV studios are mainly on the lower floors. For vertical circulation the elevators are in both towers. There is seperate lobby and elevator for VIPs.

Figure 6.24 Program Diagram (Separate)

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PUBLIC

SPACE

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UNITS

TOTAL AREA (m2) 13,647

Tower 1 F 19 F 38 (Sky Lobby)

10,000 436 3,211

1 1 1

Visitors Circulation (H)

F 01 F 36

2,971 3,346

1 1

6,393

Tower 1 (Basement - L38) Tower 2 (Basement - L38)

38 38

Administration

F 39 - 41, 43 - 47

9,541

76,328

Buisness

F 12 - 24, 25 - 35

2,787

27,870

News and Broadcast

F 03 - 32

2,411

69,919

Broadcasting Transmission F 01 - 10

3,056

30,560

VIP Areas

F 01 F 01 (Tower 2) L 08 L42

1,277 164 450 9,457

1 1 1 1

11,348

Program Production

F 01

688 (400 Studios) 260 (250 Studios) 808 (800 Studios) 1,648

4 6 2 1

Breakout Spaces

F 01

6,529 409 2,286.1

1 1 1

9,224

Parking

Basement 3

473,000

2,702

473,000

Cafetaria

F 01

3,242 2,328 2,010 403 245 280 718 617

1 1 1 1 1 1 1 1

5,570

F 09 F 20 F 25 F 36 F 38 F 48

Figure 6.25 Program Diagram

AREA (m2)

Lobby

Elevators (V)

PRIVATE

LOCATION

7,616

4,273

Figure 6.25 CCTV HQ Program Table

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6.3

The Louvre PROJECT INFORMATION

Abu Dhabi

Developer and Owner: Abu Dhabi Department of Culture & Tourism Architect: Ateliers Jean Nouvel Engineer: Arup (Concept Design); BuroHappold, Transsolar (Schematic Design); Andrew Snalune (Façades); BuroHappold (Construction) Main Contractor: Arabtec’s consortium Location: Sadiyat Island, Abu Dhabi, UAE Construction Started: November 2013 and 2014 Completion: 8 November 2017 Floor Area: 97,000 m2 Floors: 4

PROJECT BRIEF The agreement was signed in March 2007 between the government of Abu Dhabi and France. Laurence Des Cars the Director of Musée d’ Orsay has mentioned it is the first time a “Museum being born out of diplomatic agreement between two nations.”. Jean Nouvel was hired for the project in 2006. He was chosen for his understanding of the Arabic culture and its architecture. The aim of the project is to reflect Emirati Culture and become an international cultural hub. (Abu Dhabi 2018) Figure 6.26 Louvre Abu Dhabi

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Figure 6.27 Dome

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JEAN NOUVEL

CONTEXT Jean Nouvel was chosen as the architect of the Louvre Museum Abu Dhabi. After the joint coorperation between the Government of Abu Dhabi and the Government of France. The project is located on Sadiyat island which translates to Happiness Island is part of a cultural development, to bring in tourism to the new city. Inside the museum there are 55 spaces or volumes that represent the mini city under the dome which that extend over the 180m dome.

Jean Nouvel upon seeing the site said “when I arrived it was a dessert island, there was the sun, the sea and the sky.” Jean Nouvel was interested in using the geometry that is in Arab architecture and the use of light as a diffuser from mashrabiyas. “I imagine to have different layers in the dome and one ray of light to go through and sometimes because of the projector one spot disappears but in the same another appears.” As he described is as a “rain of light”. In designing the Louvre Abu Dhabi, he has said “I am not here to copy the past I am here to reinterpret the philosophy and history of the past.” (Abu Dhabi 2018)

The Government of Abu Dhabi studied the “Bilbao Effect” of how a unique architectural project can bring about development in a city that was declining economically. The main set of objectives for the Government of Abu Dhabi are directed by the ‘Abu Dhabi Vision 2030’ plan. Which sees Abu Dhabi become a cultural hub. the Sadiyat Island is a $27 billion tourist and cultural project. The first phase of the project is the Louvre Abu Dhabi. The Sadiyat Island will have a new university, 30 hotels, 8000 villas, 38,000 housing units with 12 miles of coastline.

Figure 6.28 Jean Nouvel

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Alongside the Louvre Abu Dhabi deisgned by Jean Nouvel, the ambitious project will include five Pritzker Prize winners. The Guggenheim Museum in Abu Dhbai designed by Frank Ghery, the National Museum of the UAE designed by Norman Foster which will tell the story of Sheikh Zayed the founder of the UAE, a futuristic performing arts center by Zaha Hadid, and a maritime museum, celebrating the country’s sea heritage designed by Japanese architect Tadao Ando (B1M 2017).

Figure 6.29 Site Context

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KEY ELEMENT

CONCEPT The Abu Dhabi Government studied the “Bilbao Effect” and attempted to have the same effects with the Louvre Museum. Jean Nouvel when given the project, proposed to “create a neighborhood of the city not a building.” Creating a mini city or medina and taking inspiration Arab architecture and the geography of Abu Dhabi and creating a ‘museum city’in the sea. With the influence of the dome for the shading integrating with the mashrabiya element. The permeable dome’s complex pattern is repeated at various sizes and angles by the eight layers of the dome, the rays of light appear and disappear at different angles resulting in the ‘Rain of Light’ effect.

The main key design element is the Mashrabiya Dome. The Dome comes from BuroHappold it has a span of 180m, and 585 m circumference. From the Dome the lighting effect is created. The Louvre Abu Dhabi focused on sustainable solutions to provide light. The Louvre Abu Dhabi benefits from natural light both lateral and zenithal, creating the “rain of light” effect. Light Harsh desert sun with high sun angles

Direct sunlight with up to 120,000 lux, light beam invisible Dome filters 99% of light but some direct sunlight shines through, creating light beams

Minimizing ambient light noise to maximize ratios between sun beams and ambient light

Figure 6.31 ‘Falaj system’ in the Louvre Abu Dhabi

Jean Nouvel focused on traditional Arabic culture. He put an emphasis on alleyways that can be seen in the Louvre Abu Dhabi. The 55 buildings are placed at what seems to be randomly relating to the low-lying settlments of a Medina (Suri 2017). The museum also takes inspiration from the falaj system which is an irrigation system that divided water and sharing resources that resulted in strong communal societies, the system once stretched across the UAE (KrystleArchitect). This is seen in the museum’s openness to the sea water which symbolizes harmony Figure 6.32 Dome Pattern Development

Figure 6.30 Concept “Rain of Light”

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MATERIALS

DESIGN STRATEGY The design strategy comes from the vernacular architecture that is present in Abu Dhabi. The main design strategy’s are: Mashrabiya (Figure 6.33) Sikkas (narrow alley’s) (Figure 1.11) The Falaj System (Figure 6.34) The concept of the mashrabiys is used for the dome, transmitting intervals of light in low intensities.

The early challenges of the project were to make the basement waterproof, coordinating the marine works, electromechanical works, and the dome. The dome is complex structure. With 400,000 individual elements. Weighing 12,000 tons equal in weight of the Eiffel Tower. The domes structure is a steel space frame that rests on four supports. To construct the complex dome 85 super-sized steel elements were craned into place supported by 120 temporary towers. These elements were joined by steel connectors. After the dome was completed the dome was lifted off the temporary towers and was lowered 15 inches down to the four piers, making it seem weightless.

Figure 1.11 Sikkas (Narrow Alleyways)

Figure 6.35 Dome layers

Figure 6.33 Mashrabiya

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Figure 6.34 ‘Falaj system’ in the Louvre Abu Dhabi

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When constructing the dome the project requirements were met in accordance to the RIBA guidelines (Royal Institute of British Architects). In stage 3, the digital model was used to coordinate the architectural, structural and services. Since the dome is a complex structure trials are needed to be done on simulation to make sure the dome is stable and well equipped for the environment. Waagner-Biro was the chosen specialist contractor for the dome structure. Under the scope of the package of the dome the design and delivery of the architecturally designed structural steel and the multiple layers of aluminium cladding enveloping the load-bearing steel were under Waagner-Biro (Hesselgren 2018).

Waagner Biro’s engineers and designers took it from RIBA stage 3 to Stage 4 the ‘Technical Design’. The individual components are manufactured offsite. The installation of the individual components is on-site. the permanent structural steel amounts to 11,000 members that are connected by 2,700 nodes. With the aluminium cladding enveloping the dome is the composition of 8,000 individual stars.

For the dome to function. The regulation of the light entering the museum is done by having every window and roof light to have three blinds. Two diffusers and a blackout blind. They are operated automatically, their operation depends on the light intensity, and how much light is present in the time of day. The dome acts as shading canopy for the city below. (Hesselgren 2018).

The Dome’s steel structural core is covered with eight perforated layers of cladding – four on top and four underneath. These layers are formed from 7,850-star shaped aluminum and stainless-steel elements. They measure between 2 to 13 meters and weigh up to 1.3 tons. The exterior of the dome was installed using cranes. However, the internal installation of pieces was installed manually by scaffolding.

Layer 04 Layer 03 Layer 02 Layer 01

STRUCTURE

Figure 6.36 Connector for dome elements.

Layer 05 Layer 06 Layer 07 Layer 08

Figure 6.37 Dome 8 layer structure

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The concrete used in the project is a special salt-water-resistant concrete for the complex subsoil. The facades of the building are made up of 3,900 panels of ultra-high performance fibre concrete (UHPC). In terms of construction materials it is a new material that is highly ductile, with low permeability, with high strength capacity in compression, and toughness compared to regular concrete. The dome has steel supporting framwork and the covering of aluminium profiles. The elements of the dome were pre-fabricated elements due to their size. The whole dome was divided into 85 elements, which were put together on assembly towers and then connected with lose rods. The dome is eight layers (Kaltenbach). The four outer layers are clad in stainless steel, the four inner layers are clad in aluminium. Between the two layers they are seperated by a steel frame 5m high. The supporting structure for the dome is a steel framework which rests on just four suports. Orignally was meant to be five, but challenging the engineering aspect of the tower, the dome rests on four supports that help in distribute weight equally (Kaltenbach)

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Figure 6.38 Ultra-high performance firbre concrete (UHPC)

Figure 6.39 Pre fabricated Steel Profile

Figure 6.40 Construction of the Star element for the Dome

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ICON RESPONDING TO THE COMMUNITY

The Lovre was specifially designed as an icon, recieving a lot of media coverage. It is an iconography with peculiar shape, relating to the vernacular architecture of Abu Dhabi. Creating a mirage of time. With the project being built specifically for the future community of Saadiyat Island, along with future museum projects being built. The Louvre is an integral component in a massive project (Figure 6.29)

There are however, some criticisms. Where these new museums are seen as a publicity stunt for creating a cultural identity. Previously mentioned in the research. Where the UAE is seen as having an identity issue. Creating such projects, by celebrity architects are seen to raise the profile of the city and the Emirate of Abu Dhabi (Ephraim 50).

CIRCULATION The circulation of the Louvre Abu Dhabi is horizontal in movement. Under the 180m span dome the cirulation of the Louvre. Circulation for the visitors is through the galleries. With the influence of the Al Falaj irrigation system, the visitors can experience the local influences of Abu Dhabi, while moving around the museum.

The emphasis of community is seen in the concept of the Louvre. By sikkas in the plan. Which create informal spaces. The Dome with the Mashrabiya patterns is seen to represent Islamic architecture.

Figure 6.41 Horizontal Circulation

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PROGRAM

PRIVATE

PUBLIC

SPACE

Figure 6.42 Louvre Abu Dhabi Program

120

AREA (m2)

UNITS

TOTAL AREA (m2)

Main Entrances and Check Ground Floor Points

LOCATION

4,106

Permanent Galleries

Ground Floor

9,777

Temporary Exhibition

Ground Floor

3,904

Children’s Museum

Ground Floor

541

Restaurant & Cafeteria

Ground Floor

1,789

Auditorium

Ground Floor

1,286

30,560

Administration

Ground Floor

1,262

11,348

VIP

Ground Floor

259

Collection Treatment

Ground Floor

2,844

Figure 6.43 Louvre Abu Dhabi Program Table

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PROJECT INFORMATION Developer and Owner: Capitaland Singapore Limited; Hotel Properties Limited Architect: Ole Scheeren, OMA Engineer: ARUP Main Contractor: Woh Hup Pte Ltd Location: 180 Deopt Road, Singapore 109684 Construction Started: 2007 Completion: 8 November 2013 Site Area: 81,000 m2 Floor Area: 170,000 m2 Apartment Blocks: 31 Floors: 24 Units: 1040

6.4

The Interlace Singapore Figure 6.43 Interlace Perspective

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PROJECT BRIEF

Figure 6.44 The Interlace Outline

Captialand wanted to construct residential apartments. On an area of 8 hectares. Which relative to Singapore is a lot. To make sure it was well developed. The land was originally called the ‘Railway Hill’ it was a British barracks in the late 1950’s. Before the Interlace in 1984 the ‘Gilman Heights’ condominium was built. Consisted of four buildings surrounding a central green space with the green space surrounding the parameter of the central space.

Ole Scheeren became the architect of the project in 2007. Gilman Heights started demolition in late 2009. To make way for the Interlace project. The construction started in March 2010 and was completed in September 2013. Originally the construction was meant to be 45 months. It finished in 42.5 months, two and half months ahead of schedule. With residents ready to move in November 2013.

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OLE SCHEEREN Ole Scheeren while taking on this project wanted to address the community factor and how can it be addressed. Looking at Singapore’s skyline there is a lot of verticality, that has neglected the interactions that are there in a community. In designing the Interlace, the main emphasis is on opening the community with having recreational spaces that will help in people to interact. Ole Scheeren in relation to the project said he wanted to replenish ‘the idea of communal living’ (Moore 2020). The project’s focus on sustainability, making the realization that green spaces are essential in preserving the identity of the Interlace, taking the tropical climate as a feature of the project.

Figure 6.46 Ole Scheeren

The purpose of the project was not to make an icon but to address the issue facing communities in buildings that focus more on the saving space in a floor area than they do in helping to create interactions. The project focuses on nature, on community and the experience of space these three aspects have resulted in the Interlace.

Figure 6.45 Horizontal Building Blocks

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CONTEXT

CONCEPT

The project is bounded by Alexandra Road and the Ayer Rajah Expressway. On the 180 Deopt Road, Singapore 109684. In close proximation to the site there is Telok Blangah Hill and Mount Faber parks. The site is also a five minute drive to VivoCity, Sentosa and the National University of Singapore. It is also a 10-minute drive to the Central Business District and 15 minute drive to Orchad Road. The Interlace is also accessible via MRT (rail network). (Moovit)

The concept of interlace is to create a community among the residents while having high density housing without disrupting Singapore’s tower block by adding another vertical building. It is a series of apartment blocks stacked diagonally on top of each other. Ole Scheeren explored the idea of retaining community interactions. Having six vertical buildings (Figure 6.48) would not achieve the purpose of creating a community. However, creating a horizontal building blocks connected with eachother reduces the probability of isolation between residents. Ole Scheeren made the horizontal building blocks in an orthogonal shape. Creating a concept typology based on connectivity.

Upon being awarded this project Ole Scheeren studied the landscape of Singapore. Looking at the drawbacks of the city, mainly being the density of the city and its reliance of large dense residences that have reduced human interactions. The project was viewed from the perspective of human interaction in regards to the urban landscape of the city. How the project can be a direction for the city. . The horizontal blocks that are in a hexagonal shape have followed recreational spaces for social interaction are on the ground floor and the roof gardens creating a “vertical village”. The ground floor overall functions as the main hub of gatherings. A key feature in the Interlace is the interaction of people with their surrounding. Singapore having many types of age groups, their interactions can be seen in the Interlace as well. With the Interlace having families that have older and younger generations. Creating a community for all ages and having activities for all kinds of ages (Urban hub). Figure 6.47 Context of The Interlace

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Ole Schereen took influence from the tropical environment in Singapore. Creating extensive networks of gardens based on Singapore’s vegetation emphasizing the idea of community life. Implementing vegetation of the roof as well. Creating sky gardens for both private and public terraces. The concept of natural ventilation is also explored in the project. With multi storey openings they allow for light and air to go through the landscape.

Figure 6.48 Concept Diagram for placement of volumes

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KEY ELEMENT A common design element present through out the project is the hexagonal design. That can be seen on the soffit of the buildings, the landscape, a remider that the design has a pupose that is a calculated hexagonal grid. Between the symetrical blocks, there are eight open courtyards, that are accessible by wide connections between the blocks, allowing for pedestrian movements, light, and air to flow through. The courtyards also act as an indicator for pedestrians.

The hexagonal shape of the project for the purpose of community, and in preserving nature (Figure 6.49). The stacking of 31 apartment blocks in this layout has generated multiple horizontal surfaces that have been contributed for roof gardens and landscaped terraces, reducing the residual areas in the project. For reducing the wastage of space. Interlace gives residents free planters that can be put in their balconies. The Interlace has a total of 99 roof terraces, 68 ground gardens which are PES (private enclosed spaces). The project has contributed more for green space than the size of the previous unbuilt site.

The design of the apartments is square with large openings giving the residents the views of the community. Having different options for types of apartments.

Figure 6.50 Creation of micro climate by the use of water bodies Figure 6.49 Contribution towards sustainability.

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The position of the water bodies helps in reducing the local air temperature and improve the thermal comfort. Nine roof gardens, each with specific theme such as play gardens, essence garden, a bonsai garden, were created below the triangulated blocks (Moore 2020).

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DESIGN STRATEGY The design strategy of the project was integrating the project with green life. Since most Singaporeans live in public housing (Moore 2020). Space matters in dense areas. The projects has focused on green life. The green life in many ways acts like the breathing mechanism of the space, provind the residents of the Interlace with fresh air.

Creating spaces that value in reducing the density of the already dense area. The Interlace has produced volumes that have allowed for various path of circulation creating informal movement across the site. The shape has been produced by the process as seen in Figure 6.49. In try to distance from the concept of highrise resiedntial blocks.

Jogging Path Seconday Path Figure 6.52 Connection between the loop

Courtyards

Figure 6.51 Singapore Zoo

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MATERIALS

The basement of the Interlace was a design challenge for the purpose of ventillation. A strategy employed was circular openings in the main deck. These were trees planted in the ground below allowing the canopies to rise from the natural ground and shade the area, allowing for air to flow into the basement (Steed 74).

There were many land form challenges. The main deck was high, it was controlled by the levels of the primary access along the Depot Road. Which would mean a decline down to the orignal ground on the north side, and lower down the Alexandra Road, with a decline of 15m to the AYE.

For the Interlace project, the landscape being a critical part of the design. It needed precise coorination. The strucutal design had to be coordinated to ensure that there was suffecient soil volume on roof-deck levels, to allow for tree planting. Finding “true ground” meant the maximization of big trees in the project.

One of the main challenges of the site was how to access the lower areas outside the basement edge, and what facilities could be there to make it attractive for residents. The main features to make this happen was the fire-engine access that would have to be an “outer ring road” that would circle the building mass. The path that connects the upper gardens to the lower facilities was made into a walking and jogging track which resulted in an accessible landscape at the lower levels, where swimming pools, tennis courts, playgrounds, and fitness areas could be accomodated. While the outdoor landscape was a challenge while contructing, the landscape became a character of the Interlace. Where the varied topography made it more intresting and diverse for the residents to interact with.

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While constructing the Interlace project retaining the exisitng landscape was a priority. Retaining 40 existing trees, 30 raintrees, and 140 species of plants during demolition. There was the aquisition of new variety of trees according to the concept and palm trees. For the new plant life to be placed in the site, they first needed to be mature enough when the development was ready for occupation. Figure 6.53 Landscape of the Interlace (The Hills) Figure 6.54 View from the basement

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ICON RESPONDING TO THE COMMUNITY Interlace is an icon as it has looked at and attempted to adress the social problems that Singapore is facing.

They were pre-grown under an Advanced Procurement Programme for tow yaers before they were installed. For the transferring new trees and placing them inside the project is intensive as it must be lifted through the openings of the project to be placed. The trees that are required are two and a half times bigger than regular trees (Steed 77).

The concept of community is at the heart of the Interlace project. The reason for the shape, and connections of the building blocks. Is due to the value given to community living. These expressed by the multiple courtyards present in the project and the sky garden.

Cement for the foundation works. Concrete used for the project was 176,523 m3 (enough for 70 Olympic sized swimming pools). 24,544 tons of reinforced steel was used (Raskin 2014).

These different courtyards have placed in between the space of the building blocks has helped in defining different parameters in the site. Since the site is 8 hectares, in usual circumstance it would not be alot considering its for a big project. The project has been maximised for views and space.

For shading and cooling in the open outdoor space in the ground floor the trees provide shade and help in keeping the space cool. Though the climate of Singapore is hot the variations of temperatures cannot be predicted. Plant life that has been adapted to the site is able to tolerate these temperatures.

Figure 6.55 Construction of the Interlace

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Figure 6.56 Courtyard Typologies

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CIRCULATION The horizontal pedestrian circulation of the Interlace project is through the different tyoes of gardens. The main circulation that is shown in the diagram is the circulation through the jogging path in the Interlace. Showing along the way the various activities. Like the Tennis Courts and the multi purpose court.

The automotive circulation of the project is mainly directed towards the basement, which can have up to 2,600 cars. The space for social interaction is maximised on the ground floor, keeping all the transportation vehicles in the basement.

The vertical circulation of the Interlace is through the interconnected networks that are throughout the Interlace project. Since the Interlace is not a typical skyscraper, the criteria of vertical circulation is through the the cores and the 43 elevators. The cores are located in the intersections of the volumes of the buildings.

The different roof gardens that were created below triangulated blocks were designed to be accessible from joined blocks. Roof gardens on the top floors are accessible from lift cores or as private terraces.

CORE C: 2 Elevator, 2 staircase 18-24 Storey

Jogging Path

CORE B: 2 elevator, 1 staircase 6 - 18 Storey

Seconday Path

CORE A: 1 Elevator, 1 Staricase 6 Storey

Courtyards

Figure 6.58 Vertical Circulation

Figure 6.57 Horizontal Circulation

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PROGRAM Key project details are the project site is 81,000m2. With the total floor area 170,000 m2. The Interlace project has 31 apartment blocks. Each six storey’s tall with 8 main courtyards. The Interlace project accomodates 144,000 m2 with the apartment sizes varying between 75 m2 to 600 m2 in area. The clubhouses are 1,500 m2 with reatil taking 500 m2 of area. The building composition of interlocking has led to roof gardens on top of the building blocks that has created a place for the residents of the building to interact. as seen in Figure 6.61 and 6.62. The concept of interconnected spaces is of priority in the ground floor where most of the interactions happen. Giving the inhabitants different experiences is a unique feature of the project. Connection does not just mean the same through out the project. With spaces like the Bamboo Garden being next to the Organic garden gives the essence of the Interlace project providing the inhabitants a journey through out the site.

Super Level 1 (2nd to 6th Storey)

Super Level 2 (7th to 12th Storey)

Super Level 3 (13th to 18th Storey)

The project has volumes that provide connections for the site as see in Figure 6.57. Providing informal or alternative paths of circulation.

Figure 6.59 Building Block Composition of Interlace

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Super Level 4 (19th to 14th Storey)

Figure 6.60 Zoning of Green Spaces in the Interlace

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PUBLIC

SPACE

The Interlace has the horizontal building block divided into different variations of modifications for the inhabitants. Ranging from 2 bedroom apartments to 4 bedroom apartments, also having penthouses. Each building block differs from the other.

Figure 6.62 Block 186/184 Composition Plan

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Figure 6.61 Block 186/184 Composition

UNIT CHART Type A - 2 bedrooms Type B - 3 bedrooms

Type C - 3 bedrooms + Family/study Type E - 4 bedrooms (Multi Generation

LOCATION

AREA (m2)

UNITS

TOTAL AREA (m2)

Pedestrian Entry

Ground Floor

1,673 99

1 1

1,772

Jogging Path

Ground Floor

3,445

Central Square

Ground Floor

261

Water Park

Ground Floor

2,952

Play Hills

Ground Floor

1,500

Spa Valley

Ground Floor

2,827

Theater Plaza

Ground Floor

1,902

Bamboo Garden

Ground Floor

2,872

Lotus Pond

Ground Floor

2,104

Waterfall terrace

Ground Floor

2,688

Tennis Court

Ground Floor

700

2,100

Multi Court

Ground Floor

700

Retail

Ground Floor

500

Play Zone

Ground Floor

390

BBQ Promenade

Ground Floor

169

507

BLK 184 / BLK 186 5TH Storey

Figure 6.63 The Interlace Program Table

141

SPACE Basement Parking Type A

LOCATION Basement

PRIVATE

UNITS

TOTAL AREA (m2)

2600

LOCATION

Type C

BLOCK 184/186 5th Storey

Living Room

BLOCK 184/186 5th Storey

AREA (m2)

UNITS

TOTAL AREA (m2)

23.3

Dining

Family

11.4

Kitchen

10.7

Kitchen

9.3

18.6

Yard

3.4

Yard

Utility

4.3

Master Bedroom

29.3

Master Bath

8.7

Bedroom 2

Bathroom 2

4.5

Bedroom 3

1.9

Planter

0.96

2.3

4.6

AC Ledge

Master Bedroom

Master Bath

7.3

14.6

Bedroom 2

Bathroom 2

6.3

12.6

Balcony

Planter

12.1

24.2

Type B

BLOCK 184/186 5th Storey

PRIVATE

18.5

Dining

Living Room

Powder Room

Living Room

33.1

Dining

10.9

AC Ledge

4.4

Kitchen

10.4

Balcony

22.6

Balcony

Yard

Utility

3.9

AC Ledge

2.4

Master Bedroom

28.3

Master Bath

11.2

Bedroom 2

16.6

Bedroom 3

Bathroom

1.6

142

AREA (m2)

SPACE

143

SPACE

LOCATION

AREA (m2)

UNITS

TOTAL AREA (m2)

Type E

BLOCK 184/186 5th Storey 7.6

15.2

Dining 1

6.2

12.4

Kitchen 1

AC Lodge

4.2

8.4

Bedroom 1

11.6

23.2

Bathroom 1

4.4

8.8

Main Living Room

15.5

Main Dining Room

17.1

34.2

Main Kitchen

11.7

23.4

Yard

5.9

11.8

Utility

3.5

1.6

3.2

Balcony

33.4

66.8

Planter

15.3

30.6

Master Bedroom

25.1

50.2

Master Bath

8.7

17.4

Bedroom 2

Bedroom 3

14.8

29.6

Foyer

PRIVATE

Living Room 1

Bathroom 3

144

Balcony 2

11.2

22.4

Planter

6.9

13.8

6.5 SIMILARITIES AND PATTERN IDENTIFICATION

The three case studies explore the icons and the forming of communities. The CCTV Headquarters is an icon that explores an office community that has 10,000 people. The Louvre Abu Dhabi studies the ‘Bilbao Effect’ in growing the local economy and attracting tourism. The Interlace projects helps in the understanding the different variations of a community in a residental living. While the three case studies are icons. The reason they are is because of the in depth understanding of the context by the architects in the projects. All three projects are similar in approach. Which is exploring one facet of the project and detailing it. Centered around the idea of community, all three projects are similar in trying to understand the interaction of people and trying to make a common experience, in a uncommon setting, common. Exploring new ways in seeing people interact with their environment.

145

CCTV HEADQUARTERS TOTAL AREA (m2) 13,647

10,000 436 3,211

1 1 1

Visitors Circulation (H)

F 01 F 36

2,971 3,346

1 1

6,393

Tower 1 (Basement - L38) Tower 2 (Basement - L38)

38 38

SPACE

PUBLIC

UNITS

Tower 1 F 19 F 38 (Sky Lobby)

AREA (m2)

UNITS

TOTAL AREA (m2)

Main Entrances and Check Ground Floor Points

LOCATION

4,106

Permanent Galleries

Ground Floor

9,777

Temporary Exhibition

Ground Floor

3,904

Children’s Museum

Ground Floor

541

Administration

F 39 - 41, 43 - 47

9,541

76,328

Restaurant & Cafeteria

Ground Floor

1,789

Buisness

F 12 - 24, 25 - 35

2,787

27,870

Auditorium

Ground Floor

1,286

30,560

News and Broadcast

Administration

Ground Floor

1,262

11,348

VIP

Ground Floor

259

Collection Treatment

Ground Floor

2,844

F 03 - 32

2,411

69,919

Broadcasting Transmission F 01 - 10

3,056

30,560

VIP Areas

F 01 F 01 (Tower 2) L 08 L42

1,277 164 450 9,457

1 1 1 1

11,348

Program Production

F 01

688 (400 Studios) 260 (250 Studios) 808 (800 Studios) 1,648

4 6 2 1

Breakout Spaces

F 01

6,529 409 2,286.1

1 1 1

9,224

Parking

Basement 3

473,000

2,702

473,000

Cafetaria

F 01

3,242 2,328 2,010 403 245 280 718 617

1 1 1 1 1 1 1 1

5,570

F 09 F 20 F 25 F 36 F 38 F 48

Figure 6.64 CCTV HQ Program Table

146

AREA (m2)

Lobby

Elevators (V)

PRIVATE

LOCATION

PRIVATE

PUBLIC

SPACE

THE LOUVRE MUSEUM ABU DHABI

7,616

4,273

Figure 6.65 Louvre Abu Dhabi Program Table

147

THE INTERLACE

SPACE Basement Parking Type A

LOCATION Basement

Ground Floor

AREA (m2)

UNITS

TOTAL AREA (m2)

1,673 99

1 1

1,772

3,445

TOTAL AREA (m2)

2600

18.5

Dining

Kitchen

9.3

18.6

Yard

4.6

2.3

AC Ledge

Master Bedroom

Master Bath

7.3

14.6

Bedroom 2

Bathroom 2

6.3

12.6

Balcony

Planter

12.1

24.2

Living Room

33.1

Dining

10.9

Jogging Path

Ground Floor

Central Square

Ground Floor

261

Water Park

Ground Floor

2,952

Play Hills

Ground Floor

1,500

Spa Valley

Ground Floor

2,827

Theater Plaza

Ground Floor

1,902

Bamboo Garden

Ground Floor

2,872

Lotus Pond

Ground Floor

2,104

Waterfall terrace

Ground Floor

2,688

Tennis Court

Ground Floor

700

2,100

Kitchen

10.4

Multi Court

Ground Floor

700

Balcony

Retail

Ground Floor

500

Yard

Play Zone

Ground Floor

390

Utility

3.9

BBQ Promenade

Ground Floor

169

507

AC Ledge

2.4

Master Bedroom

28.3

Master Bath

11.2

Bedroom 2

16.6

Bedroom 3

Bathroom

1.6

PRIVATE

PUBLIC

Pedestrian Entry

LOCATION

UNITS

BLOCK 184/186 5th Storey

Living Room

SPACE

AREA (m2)

Type B

BLOCK 184/186 5th Storey

Figure 6.66 The Interlace Program Table

148

149

AREA (m2)

UNITS

TOTAL AREA (m2)

7.6

15.2

Dining 1

6.2

12.4

Kitchen 1

3.4

AC Lodge

4.2

8.4

4.3

Bedroom 1

11.6

23.2

Bathroom 1

4.4

8.8

Master Bedroom

29.3

Main Living Room

15.5

Master Bath

8.7

Main Dining Room

17.1

34.2

Bedroom 2

Main Kitchen

11.7

23.4

Bathroom 2

4.5

Yard

5.9

11.8

Bedroom 3

Utility

3.5

1.9

1.6

3.2

Planter

0.96

Balcony

33.4

66.8

AC Ledge

4.4

Planter

15.3

30.6

Balcony

22.6

Master Bedroom

25.1

50.2

Master Bath

8.7

17.4

Bedroom 2

Bedroom 3

14.8

29.6

LOCATION

AREA (m2)

UNITS

TOTAL AREA (m2)

Type C

BLOCK 184/186 5th Storey 23.3

23.3

Dining

Family

11.4

Kitchen

10.7

Yard

3.4

Utility

4.3

PRIVATE

Living Room

Powder Room

SPACE

LOCATION

Type E

BLOCK 184/186 5th Storey

Foyer Living Room 1

PRIVATE

SPACE

Bathroom 3

150

Balcony 2

11.2

22.4

Planter

6.9

13.8

151

6.6 SUMMARY AND SYNTHESIS The three case studies explore the role the icon plays. All three icons are functional for a community. 5.1 (CCTV headqaurters) explores the icon in a office environment, discovering how an office can be a community, with 10,000 people. With the design being in a loop, the skyscraper is not the tallest in Beijing but inspects how a community can be created rather than be closed off. Where a skyscraper only sees the person being in one level. The CCTV headquarters sees people explore different areas of the building where different functions are located. 5.2 (The Louvre Abu Dhabi) explores the ‘The Bilbao Effect’ and how a museum can help in bring people to create a community. The Louvre Abu Dhabi differs from the Guggenheim museum of Bilbao as there was an existing community. Where as the The Louvre Museum Abu Dhabi located in Saadiyat Island aims to create a tourist scene and also develop a community. The design of the Museum also takes inspiration from the layout of a community, influencing the circulation and enhancing the experience for the visitor. 5.3 (The Interlace) in Singapore helps in understanding the creation of an icon due to circumstance. With the skyline of Singapore being influenced by the density of the city-state. Ole Scheeren came up with the design on integrating the aspect of the community with living, which became numb to the residents of Singapore, as form followed funciton. The core of the project is connection and how people are connected with each other as well as nature. The Interlace maximized nature, integrating nature with architecture. The interlace having different gardens, with different styles, helps in realizing nature can be used in more ways in communication in design and solutions.

152

7.0 PROGRAM AND SPATIAL ANLYSIS

Case Study 1 (CCTV Spaces

7.1 PROGRAM

After studying the three case studies, the proposed project of ICONcentric will have some of the features that will help convey the idea of a neccessity to a community of a space that is needed that will help to grow a healthy environement in a community.

Lobby Visitors Circulation

Total Area (m2)

Area

Units

Total Area (m2)

(10,000), (436), (3,211)

1, 1, 1

13,647

(2,971), (3,346)

1, 1

Permanent Galleries

9,777

Temporary Exhibition

3,904

Children’s Museum

541

Restaurant & Cafe

1,789

Auditorium

30,560

Pedestrian Entry

Jogging Path

6, 398

4,106

Central Square

Water Park

Play Hills

Spa Valley

Theater Plaza

Bamboo Garden

Lotus Pond

Waterfall Terrace

Tennis Court

Multi Purpose Court

Play Zone BBQ Promenade Elevators Administration Business News and Broadcast Broadcasting Transmission

(38), (38) 9,541 2,787 2,411 3,056

75 8 10 29 10

76,328 27,870 69,919 30,560

Total Area (m2)

1000

Visitors Circulation

Main Entrance and Check Point

500

Permanent Galleries

Temporary Exhibition

Children’s Museum

Restaurant & Cafe

Auditorium

Pedestrian Entry

1,673, 99

1,772

200

Jogging Path

3,445

2000

Central Square

261

3000

Water Park

2,952

Play Hills

1,500

300

Spa Valley

2,827

200

400

Theater Plaza

1,902

-Bamboo Garden

2,872

Lotus Pond

2,104

Waterfall Terrace

2,688

Tennis Court

700

2,100

700

1,400

Multi Purpose Court

700

1000

2000

Retail

500

Play Zone

390

500

BBQ Promenade

169

507

Elevators

2.3

11.5

Administration

Business

News and Broadcast

Broadcasting Transmission

VIP Areas

Program Production

Breakout Spaces

500

2000

Parking

Cafetaria

Administration

VIP

Collection Treatment

Program Production

688 (400 studios), 260 (250 studios), 808 (800 studios), 1,648

4 6 2 1

7,616

Breakout Spaces

F01

6,529 409 2,286.1

9,224

Parking

473,000

2,702

473,000

Cafetaria

3,242 2,328 2,010 403 245 280 718 617

1 1 1 1 1 1 1 1

5,570

1,262

11,348

Units

Area

Lobby

Collection Treatment

Total Area (m2)

11,348

Units

1 1 1 1

Case Study 4 (Proposed Project)

Area

1,277 164 450 9,457

Administration

Spaces

VIP Areas

VIP

154

Units

Main Entrance and Check Point

Retail

Figure 7.1 All Case Studies Programs

Case Study 3 (The Interlace)

Case Study 2 (Louvre Abu Area

4,273

259 2844

2 3

518 8,532

155

7.2 DISCOVERING ICONcentric The meaning of ICONcentric is being the focal point. After concluding my research in Part 1, my project will be an anti-icon, that will focus more on the community. That is what the project aims to do, to become the central point of a community. Since most icons are distant from the neighborhoods that have been studied. ICONcentric will be a project with multipurpose facilities that caters to the neighborhoods that have low proxmity to the icons of Dubai. While realising that ICONcentric is in neighborhoods that are residential. The aim is not to become a traction of traffic rather an extension for the neighborhood.

While the area is already a place for community. ICONcentric will enhance the experience of a community and become a center for the communities in the neighborhood. The main activities that would be offered are a place for physical activites. Since the places in the neighborhoods are informal. ICONcentric will offer more refined places to have such activities. The project will also serve for seclusion, for those who seek it.

PHYSICAL ACTIVITY

While the size of the icon would be significantly smaller than the already established icons of Dubai. It is the significance of the project for the area that makes it an icon. This diagram will help in understanding the relation these functions has for the community, creating an environment of tranqulity.

Figure 7.2 Potential Program

PHYSICAL ACTIVITY

Tennis Court

Jogging Path

Recreational Space

Shops Watch Tower

PUBLIC

SOCIAL ACTIVITY

PRIVATE

Multi-purpose Court

Figure 7.3 Spatial Relationship Diagram

Multipurpose Court Tennis Court Recreational Space Jogging Path Cafe

ICONcentric

ENTRANCE

7.3 SPATIAL RELATIONSHIP DIAGRAM

SECLUSION

Entrance Lobby Central Square Arcade Space Cafe Shops Exhibition Space Majlis Library Sleeping Pods Study Rooms Storage Watch Tower

Exhibition Space

SOCIAL ACTIVITY

Sleeping Pods

Lobby

SECLUSION

Arcade Space

Study Rooms Majlis Central Sqaure

Library Storage

156

157

Watch Tower

Sleeping Pods Study Rooms

Library

Majlis

Exhibition Space

Shops

Central Square

Cafe

Arcade Space

Recreational Space

Tennis Court

Jogging Path

Multi-purpose Court

Storage

Lobby

The matrix links the programs in ICONcentric that are within the building, helping to understand the possible links that the users of the spaces will be exploring in ICONcentric Entrance

Entrance

7.4 RELATIONSHIP MATRIX

Lobby Storage Multi-purpose Court

8.0 SITE CONTEXT AND ANALYSIS

Jogging Path Tennis Court Recreational Space Arcade Space Cafe Central Sqaure Shops Exhibition Space Majlis Library Sleeping Pods Study Rooms

Linked

Watch Tower

Possibly Linked

Figure 7.4 Spatial Relationship Diagram

158

Key Plan

8.1 JUDGEMENT CRITERIA The site selection for the project is in a location that is not doing well. In terms of economically, environment. The context of the site must reflect the conditions that have been discovered by the research that has been done. A judgement criteria was formulated to find the accurate location for the project. The judgement criteria will help in narrowing down the potential location for the project in accordance with the project’s theme. The site must have the following requirements: # Accessiblity # Secluded areas # Distance to major icons # Bicentric for the neighborhood # Basic necessities for a community

8.2 COMPARISION ANALYSIS

The potential sites that have been chosen are similar in features. To analyse them the criteria that has been developed will be used to figure out which is the suitable site for the project. The comparision of the site will allow to examine details of the site and find elements that could stand out in development of the project. If these elements are beneficial for the project or not. The details of the project that will help in analysing the site are site surrounding, circulation, distance it takes to travel to existing icons, etc. The potential sites will be scored ‘X’ if they do not comply with the criteria and ‘1’ if they do.

Potential Sites: Site A- Muhaisnah 4 Site B - Al Barsha South Site C- Nad Al Sheba 4

160

161

Dubai City Roads

Dubai

Site and Distance to Icons U.A.E

Arabian Gulf Dubai World Trade Center

Surroundings

Al Muhaisnah 4

Emirates Towers

Burj Khalifa

Dubai International Airport Dubai Opera Palm Jumeirah

Nad Al Sheba 4 Burj Al Arab

Dubai Frame

Atlantis

The Museum of the Future

The Princess Tower The Canyon Al Barsha South

The Opus

Palm Jebel Ali

Figure 8.1 Map of Dubai in UAE

162

Jebel Ali Port

Figure 8.2 Map of Dubai with icons

163

8.3 SITE DETERMINATION

Site Volumes Road

The site is based on the criteria that has been developed for the selection for the site. From where potential sites will be analysed to compare and select. The comparision is necessary to allow for the project to develop in conformity with the conditions of the surroundings of the site.

Figure 8.3 Al Muhaisnah 4: 18,000 m2

It will also help in finding elements in the area that will be beneficial or an obstacle for the project and will help in figuring out the circulation of the sites. The potential site will be scored ‘0’ if they do not fulfill the criteria, and ‘1’ if it the site does match the criteria for the site selection. Figure 8.4 Al Barsha South: 14,000 m2

Figure 8.5 Nad Al Sheba 4: 48,661 m2

164

165

Site Volumes Road Parking Pedestrian Movement Bus Stop Figure 8.6 Al Muhaisnah 4 Circulation Diagram

Figure 8.9 Al Muhaisnah 4 Landmarks Diagram Cafe/Restaurant

Site Tea Place

Volumes Road

Market Parking Pedestrian Movement

Super Market

Figure 8.7 Al Barsha South Circulation Diagram

Pharmacy / Hospital

Figure 8.10 Al Barsha South Landmarks Diagram

Accomodations Park Mosque Petrol Pump

Figure 8.8 Nad Al Sheba 4 Circulation Diagram

166

Figure 8.11 Nad Al Sheba 4 Landmarks Diagram

167

Al Muhaisnah 4 Site

Potential Sites distance to existing icons

Figure 8.12 Al Muhaisnah 4 Distance to Dubai Frame - 23 minutes by car

Criteria

Accessibility

Secluded Areas

Distance to major icons

Bicentric for the neighborhood

Basic necessities for a community

Total

Al Barsha South Site

Site A - Al Muhaisnah 4 Site B - Al Barsha South Site C - Nad Al Sheba 4 Figure 8.13 Al Barsha South Distance to Mall of the Emirates - 16 minutes by car

Site A (Al Muhaisnah 4) has been chosen as the site for the project. Since it has the most potential to do so, as it has been assessed based on the criteria.

Figure 8.15 Criteria for Site Selection Nad Al Sheba 4 Site

Figure 8.14 Site C Distance to Burj Khalifa - 16 minutes by car

168

169

8.4 PROGRAM DEVELOPMENT

The project program and spaces have been develpoped based on the following criterias: # Analysing the case studies # Program needed to achieve the goal of the project # Analysis of existing icons in Dubai. Figure 8.16 Al Muhaisnah 4

The site that has been chosen for making this project will be compared to existing icons of Dubai. In respect to the Plot Size and Built Up Area. The icons that are chosen for this analysis are:

Al Muhaisnah 4 Site

Burj Al Arab Burj Khalifa The Dubai Frame The Museum of the Future ICONcentric (Proposed project)

Figure 8.17 Al Muhaisnah 4 in context to Icons

170

171

Private

Burj Al Arab Mass

Public

Site

Jogging Path

Volumes Water Shops

Entrance

Circulation

Tennis Court

Plot Area - 26,677 m2 Built Up Area - 111,483 m2

Cafe

Lobby

Multipurpose Space

Recreational Space

Figure 8.19 Burj Al Arab (Jumeirah St - Umm Suqeim 3) Majlis

Central Square

Exhibition Space

Burj Al Arab Mass Site Volumes

Watch Tower

Water

Arcade Space

Circulation Landscape Study Rooms

Sleeping Pods

Library

Plot Area - 92,000 m2 Built Up Area - 526,720 m2

Storage

Figure 8.18 Private vs Public Program Firgure 8.20 Burj Khalifa (1 Sheikh Mohammed bin Rashid Blvd - Downtown Dubai)

172

173

Burj Al Arab Mass Site Volumes Water Circulation Landscape Plot Area - 24,220 m2 Built Up Area - 10,835 m2

Figure 8.23 The Dubai Frame (Zabeel Park Jogging track - Za’abeel Al Kifaf) Burj Al Arab Mass Site

Figure 8.25 ICONcentric (Site - Al Muhaisnah 4)

Volumes Water Circulation

Al Muhaisnah 4 Site

Landscape

Volumes

Plot Area - 30,000 m2 Water

Built Up Area - 14,335 m2

Circulation Plot Area - 18,000 m2 Built Up Area - 20,000 m2 approx. Figure 8.24 The Museum of the Future (Trade Centre 2)

174

175

8.5 SPACE AND SITE CORRELATIONS Project

Plot Area (m2)

Built Up Area (m2)

Burj Al Arab

26,677

111,483

Burj Khalifa

92,000

526,720

The Dubai Frame

24,220

10,835

The Museum of the Future

30,000

14,335

ICONcentric (Proposed)

18,000

20,000 approx.

Figure 8.26 Comparision of Sites

By comparing the existing icons of Dubai. The proposed project and its site helps in understanding the role the plot size plays in creating an icon. Purpose of the above mentioned project relates to the plot size that has been allocated. For instance, The Dubai Frame orignally deisgned as an anti-icon is 24,220 m2 in size, relying on verticality, with the purpose of the project to show views of icons in Dubai, or the Museum of the Future that is located in a dense area with pre-existing icons such as Emirates Towers and Dubai World Trade Centre correlating size and purpose to create an icon. Area plays a factor in the size of the icon. Thus, with the comparison of sizes and the locatios of the icoic sites. ICONcentric is confirmed to be an anti-icon that will be located in Al Muhaisnah 4 close to Dubai International Airport. The project will aim to be functioning for the people and become an integral part of a community.

176

With the comaprision of existing icons. The scale of the projects has been compared, realising the full potential for the project The surroundings of the site have been studied by a site visit and research on the area chosen. One of the main characteristics of the area is it is an area for middle income families. The area has the basic necessities. Like supermarkets, schools, mosques and small shops. But lacks a central hub, which my project aims to be.

177

Figure 8.28 Site Conditions Am

n St

dS 42n

Existing Site Condition 27

17A St

18 th

leb

Figure 8.27 Al Muhaisnah 4 Site Context Site Location in

Site Volumes Vehicle Circulation

178

Existing Site Condition

179

180

Existing Site Condition

181

182

Existing Site Condition

183

184

Existing Site Condition

185

Mass

Existing Site Condition Figure 8.29 Mass and Void Diagram

G+9 G+3 G+2 G+1 G

Existing Site Condition

186

Figure 8.30 Density and Height Diagram

187

Site Volumes Road

Figure 8.31 Sun Orientation Diagram

Site Volumes Road

Figure 8.33 Residential vs Non-Residential Residential Apartments Residential Villas Non-Residential Figure 8.32 Wind Orientation Diagram

188

189

Summary and Reflection Selected Site Area

18,000 m2

Projected Mass Area for Selected Site

20,000 m2

Average Height in Neighboring Sites

G+3

Site Surrounding

Educational Insitutions and Residential blocks

With the surroundings of the site being residential blocks, of G + 3, and being located near the airport. The size of the project will be in the limits of the maximum height of the area. Also the surroundings are educational institutions. My project will aim to become a breakout space for students, and parents alike. The place is also an alternative to the informal space in the neighbourhood.

Dubai International Airport Figure 8.34 Conclusion of Site Analysis

190

Figure 8.35 Site distance to Dubai International Airport

191

What is an Icon?

The Role of Iconic Structures in Cities

Traditional Icon

History of Dubai

ICON Dubai

Eiffel Tower

ICONcentric

Contemporary Icon

New York CIty

9.0 DESIGN APPROACH

Shanghai

Iconic City

Dubai World Trade Centre

Icons of Dubai

Singapore

Deira Clock Tower Dubai Frame

Dubai Model

The Bilbao Effect

Etisalat Tower 2 National Bank of Dubai

Burj Khalifa

Iconic Communities of Dubai

Enigma

Burj Al Arab

The Use of Icons Relating to Community Living Transnational Identity

Figure 9.1 Mind Map of Research Subject

193

9.1 CONCEPT PROPOSAL AND DESIGN IMPACT

PUBLIC

The design on the project is influenced by the context of the neighbourhood. The design is formed by the surroundings of the site. To deliver Figure 8.35, 8.36, 8.37. The site analysis has helped in forming the shape of the site.

PROPOSED PROJECT PROGRAM PHYSICAL ACTIVITY

Multipurpose Court Tennis Court Recreational Space Jogging Path

SOCIAL ACTIVITY

Entrance Lobby Central Square Arcade Space Cafe Shops Exhibition Space Majlis

SECLUSION

Library Sleeping Pods Storage Watch Tower

PRIVATE

Figure 9.2 An extension for the Neighbourhood

Figure 9.5 Proposed project program Figure 9.3 A landmark for the Area

Figure 9.4 Enhancing the daily activites of the residents

194

195

CONCEPT 1 - Seashell Large Volumes for Shading Fragmentaion (Sikkas) Green Space

Grid Lines of 5m

Entrance

Grid Lines of 5m

Sun Orientation

Small Volumes

Large Volumes

Division of Space Figure 9.6 Concept approach

196

Entrance Figure 9.7 Concept Seashell

197

CONCEPT 2 - CONNECTIVITY

CONCEPT 3 - Oasis

Green Space Connectivity of Volumes

The oasis comes from being deserted. Roof gardens Central Spaces Fragmentation

Grid Lines of 5m Grid Lines of 5m

Orange Division used mainly for volumes

Green Roofs Volumes Influences by division of Space

Figure 9.8 Concept Connectivity

198

Volumes spread across the site

Connection of Spaces

Micro-climate created by water and green space

Figure 9.9 Concept Oasis

199

9.2 CONCEPTUAL STRATEGIES FROM RESEARCH

9.3 STRUCTURAL ENVIRONMENTAL, TECHNICAL AND SUSTAINABLE INTEGRATION

The research has helped understanding the reason for why the project might be needed in this area. With most icons being distanct from the site. The distance of travel is far. The proposed project is understably placed not in a local area, but an expat area. Since local people want to preserve their culture. The expat community was targeted for the site. The project’s design tries to implement the ifluences of Dubai in design.

Similarly understanding the case studies has helped in developing the concept. The first objective of any project has been, how can it help the area, seen in the CCTV HQ, the Louvre Abu Dhabi, and the Interlace. The proposed project has taken similar strategies in adressing the site.

The use of nature has been used in the project by implementing the use of Mashrabiyas. The use of Sikkas. Also using the Oasis as a concept. Pre modern Dubai. These were some of the importannt factors of urban living. Especially with the use of Wind Towers. In relation of the Research in Part one, Two concepts have been used. The mashrabiya concept has been used in ‘Seashells’ (Figure10.7). The concept of Sikkas and bridges has been used in ‘Connectivity’(Figure 10.9).

Figure 1.11 Sikkas (Narrow Alleyways)

Figure 1.16 Mashrabiya

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Figure 9.10 Mashrabiya

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10.1 HORIZONTAL REPRESENTATIONS

10 PRELIMINARY DESIGN DOCUMENTATION

Figure 10.1 Seashells Site Plan

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Figure 10.2 Connectivity Site Plan

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Figure 10.3 Oasis Site Plan

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10.2 VERTICAL REPRESENTATIONS

Figure 10.4 Seashell Section

Figure 10.5 Connectivity Section

Figure 10.6 Oasis Section

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10.3 ILLUSTRATIONS

Figure 10.7 Seashell Aerial Perspective

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Figure 10.8 Seashell Human Perspective

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Figure 10.9 Connectivity Aerial Perspective

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Figure 10.10 Connectivity Human Perspective

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Figure 10.11 Oasis Aerial Perspective

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Figure 10.12 Oasis Human Perspective

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Figure 1.1 Sydney Opera House

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Figure 1.2 Sumero-Akkadian Writing from Babylon

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Figure 1.3 Tower of Babel

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Figure 1.18 Eiffel Tower

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Figure 1.10 Dubai Location By Author

From the Henry Clay Cochrane Collection (COLL/1) at the Marine Corps Archives and Special Collections OFFICIAL USMC PHOTOGRAPH. “Gustave Eiffel.” USMC Archives, www.wikidata.org/wiki/ Q20882#/media/File:M._Gustave_Eiffel_(14382067242)_(cropped).jpg.

Figure 1.11 Sikas

Figure 1.20 Surroundings of the Eiffel Tower

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Figure 1.15 Fossilized Coral Stone

Figure 2.1 Migration of Iranian merchants to Dubai

By Author

Figure 1.16 Mashrabiya

Figure 2.2 Sheikh Rashid Bin Saeed Al Maktoum

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Figure 1.19 Gustave Eiffel

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Figure 2.4 Sheikh Mohammed bin Rashid Visiting New York

Figure 3.9 The Marina Bay Sands

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Figure 3.1 Map of Manhattan

Figure 3.10 Jebel Ali Port

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Figure 3.2 Home Insurance Building, Chicago

Figure 3.11 Dubai Media city

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Figure 3.3. Graphic Rep resentation of New York City Skyline

Figure 3.12 Dubai Internet City

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Figure 3.5 Skyline of Shanghai

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Figure 3.14 GMB with Salve Bridge (right of GMB)

Figure 3.6. Map of Singapore

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Political Map - Singapore [Digital image]. (n.d.). Retrieved from https://singaporethegreat.weebly. com/political-map.html Figure 3.7 Skyline of Singapore Y. (n.d.). Singapore skyline illustration [Digital image]. Retrieved from https://www.dreamstime. com/singapore-city-skyline-vector-silhouette-illustration-singapore-city-skyline-silhouette-image113883404 Figure 3.8 The Merlion S. (2018, July 28). Reviewing the Facts Behind the Merlion Statue [Digital image]. Retrieved https://singaporeguidebook.com/en/reviewing-the-facts-behind-the-merlion-statue/

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Figure 3.13 GMB on the north riverside of Bilbao

from

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Figure 3.17 Milwaukee Art Museum

Figure 4.7. Burj Al Arab

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Figure 4.1 Original Design of DWTC

Figure 4.9 Burj Khalifa

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Figure 4.2 DWTC after completion

Figure 4.10 Red Spider Lily Flower

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Juuyoh, TANAKA. “How to Grow Lycoris Plants.” Gardeners Hq, www.gardenershq.com/Lycoris-Hardy-Amaryllis.php.

Figure 4.3 Deira Clocktower Northway, R. “Dubai’s Clock Tower .” Dubai as It Used to Be, 1968, www.dubaiasitusedtobe.net/ ClockTowerHistory.shtml. Figure 4.4 Toyota Building before development NRL Group. “ Dubai’s Iconic Toyota Building Has Lost Its Sign .” Whats On, 17 May 2018, whatson. ae/2018/05/dubais-iconic-toyota-building-has-lost-its-sign/. Figure 4.5 Toyota Building 2018 Dennehy, John. “Dubai’s Toyota Building on Sheikh Zayed Road Has Famous Sign Removed.” The National News, 16 May 2018, www.thenationalnews.com/uae/heritage/dubai-s-toyota-buildingon-sheikh-zayed-road-has-famous-sign-removed-1.730831. Figure 4.6 National Bank of Dubai Gomez, Inigo Lorenzo. Emirates NBD Bank Head Office Building, Deira, Dubai, EAU.

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Figure 4.8 Emirates Towers

Figure 4.11 The Great Mosque of Samarra Itp_mono. “The-Great-Mosque-of-Samarra.” Middle East Architect, 24 July 2013, www.middleeastarchitect.com/the-great-mosque-of-samarra-iraq. Figure 4.12 Plan of Burj Khalifa SOM. “Burj Khalifa.” Archdaily, www.archdaily.com/882100/burj-khalifa-som/59eb89d3b22e38dd05000150-burj-khalifa-som-typical-plan. Figure 4.13 Etisalat Tower 2 Boake, Terri Meyer. “Etisalat Tower 2.” Skyscraper Center, www.skyscrapercenter.com/building/etisalat-tower-2/2149. Figure 4.14 Dubai Frame Wainwright, Oliver. Dubai Frame: UAE’s Latest Surreal Landmark Frames a Controversy. 1 Jan. 2018, www.theguardian.com/world/2018/jan/01/dubai-frame-uaes-latest-surreal-landmark-frames-a-controversy.

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Figure 4.15 Museum of the Future Dubai Future Foundation. “Dubai’s Museum of the Future: A New World Icon?” Edition CNN, 26 July 2019, edition.cnn.com/travel/article/dubai-museum-of-the-future-intl/index.html. Figure 5.1 Jumeirah Islands S. (2017, April 14). Nakheel opens waterfront retail pavilion at Jumeirah Islands [Photograph]. Dubai.

Figure 5.8 Global Media Insight Https://Www.globalmediainsight.com/Blog/Uae-Population-Statistics/. Figure 5.9 Arabian Ranches Arabian Ranches: Convenience Meets Luxury. 8 Feb. 2017, www.propertyfinder.ae/blog/arabian-ranches-convenience-meets-luxury/.

Figure 5.2 Jumeirah Island Sewage Problems

Figure 6.1 CCTV Headquarters Station View

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Lanoo, Julien. “CCTV Headquarters Station View.” Divisare, divisare.com/projects/16857-oma-julienlanoo-cctv-station-and-headquarters.

Figure 5.3

Figure 6.2 CCTV Headquaters Icon

Buccarey , Franco. Aerial View of Dubai . www.pinterest.com/pin/684758318323027192/.

“Download Cctv Headquarters China for Free.” Freepik, 9 Sept. 2014, www.freepik.com/free-icon/ cctv-headquarters-china_744644.htm. Figure 6.3 Ole Scheeren (left) and Rem Koolhaas (right)

Figure 5.4 Broadacre City by Frank Loyld Wright Wright, Frank Lloyd. “Introduction to Frank Lloyd Wright and Broadacre City .” Utopicus, utopicus2013.blogspot.com/2013/06/introduction-to-frank-lloyd-wright-and.html. Figure 5.5 Number of building built from 1975 to 2017 United Arab Emirates: No of Buildings: Census: Dubai: Economic Indicators: CEIC. (1970, January 01). Retrieved October 30, 2020, from https://www.ceicdata.com/en/united-arab-emirates/number-of-buildings-census/no-of-buildings-census-dubai Figure 5.6 Number of Buildings built specifically from 2015 – 2017 United Arab Emirates: No of Buildings: Census: Dubai: Economic Indicators: CEIC. (1970, January 01). Retrieved October 30, 2020, from https://www.ceicdata.com/en/united-arab-emirates/number-of-buildings-census/no-of-buildings-census-dubai Figure 5.7 karama Deira and Bur Dubai Al Karama. propsearch.ae/dubai/al-karama.

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“Ole Scheeren Photos.” Sucess Story, successstory.com/photos/people/ole-scheeren. Figure 6.4 Proposed Beijing Financial Sqaure OMA. “Proposed Beijing Financial Sqaure.” E Architect, www.e-architect.com/beijing/central- china-tv. Figure 6.5 CCTV Headquarters, Street View Gourley, Jim. “CCTV HQ, Street View.” OMA, oma.eu/projects/cctv-headquarters. Figure 6.6 Project Site Plan OMA. “Site Plan of CCTV HQ.” Arch2o, www.arch2o.com/cctv-headquarters-oma/. Figure 6.7 Concept Diagram By Author Figure 6.8 Forbidden City, Beijing Zhihai, Zhijing , Zheng Zhihai, Qu. “Plan of Forbidden City .” Oriental Architecture, www.orientalarchitecture.com/sid/47/china/beijing/forbidden-city.

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Figure 6.9 Concept of Folding By Author Figure 6.10 Concept Connection Front View By Author Figure 6.11 Diagrid Lines in North Elevation OMA. “North Elevation.” Arch2o, www.arch2o.com/cctv-headquarters-oma/. Figure 6.12 Ole Schereen observing the urban layout Baan, Iwan. “Ole Schereen Observing the Urban Layout.” Oma, 2013, oma.eu/projects/cctv-headquarters. Figure 6.13 View from the Cantilever Baan, Iwan. View from the Cantilever. oma.eu/projects/cctv-headquarters. Figure 6.14 CCTV View from Ground Floor of Cantilever

Carroll, Chris, and Craig Gibbbons. “Case Study: CCTV Building - Headquarters & Cultural Center .” CTBUH Research Paper, 2008. Figure 6.19 Cantilever in CCTV while construction OMA “CCTV Headquarters - Data, Photos & Plans.” WikiArquitectura, 9 Apr. 2018, en.wikiarquitectura. com/building/cctv-headquarters/. Figure 6.20 Trusses in CCTV while construction “Bizarre CCTV Headquarters Seems to Defy Gravity.” New Atlas, 2 May 2015, newatlas.com/ cctv-headquarters-defy-gravity/22615/. Figure 6.21 Prority to Green Open Space OMA. “Site Plan of CCTV HQ.” Arch2o, www.arch2o.com/cctv-headquarters-oma/. Figure 6.22 Linking By Author Figure 6.23 Circulation Diagram

OMA. “View from Ground Floor of Cantilever.” Skyscraper Center, 2012, www.skyscrapercenter.com/ building/cctv-headquarters/1068.

Schereen, Ole. “Circulation Diagram .” Buro Os , buro-os.com/projects/cctv.

Figure 6.15 Vertical and Lateral Load Credit OMA “CCTV Headquarters in China.” I Like To Waste My Time, www.iliketowastemytime. com/2012/03/30/cctv- headquarters-in-china.

Schereen, Ole. “Program Diagram (Seperate) .” Buro Os , buro-os.com/projects/cctv.

Figure 6.16 Diagrid Framing System Yeoh , Jeah Loong. Diagrid Framing System. 27 Nov. 2011, aaaronyeoh.wordpress.com/2011/11/27/ cctv-beijin/. Figure 6.17 Butterfly plates OMA. “Butterfly Plates.” Arch2o, www.arch2o.com/cctv-headquarters-oma/.

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Figure 6.18 Column embedded in Raft Foundation

Figure 6.24 Program Diagram (Separate)

Figure 6.25 Program Diagram OMA. “Program Diagram .” OMA, oma.eu/projects/cctv-headquarters. Figure 6.25 CCTV HQ Program Table By Author Figure 6.26 Louvre Abu Dhabi Boegly, Luc, and Sergio Garzia. “Louvre Abu Dhabi .” Archdaily, www.archdaily.com/883157/louvreabu-dhabi-atelier-jean- nouvel/5a1d98c5b22e38944d00002e-louvre-abu-dhabi-atelier-jean-nouvel-photo.

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Figure 6.27 Dome Ateliers Jean Nouvel. “Dome.” Inexhibit, 29 June 2020, www.inexhibit.com/mymuseum/louvre-abudhabi-jean-nouvel/ Figure 6.28 Jean Nouvel M, Hemalatha. “STARCHITECTS - Jean Nouvel.” Pennews, www.pennews.net/starchitects/2020/05/24/ starchitects-jean-nouvel. Figure 6.29 Site Context Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Site.” Archdaily, www.archdaily.com/883157/louvre-abudhabi-atelier-jean-nouvel/5a01c0c3b22e38b1dc0004e7-louvre-abu-dhabi-atelier-jean-nouvel-c-ateliers-jean-nouvel-site?next_project=no. Fig 6.30 Concept “Rain of Light” Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Section A2.” Archdaily, www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel/5a01c2f5b22e3816ed00025e-louvre-abu-dhabi-atelier-jean-nouvel-c-ateliers-jean-nouvel-section-a2. Figure 6.31 ‘Falaj system’ in the Louvre Abu Dhabi Odyfolio. “Oasis of Al Ain.” ODYFOLIO, ODYFOLIO, 26 Apr. 2020, www.odyfolioemirates.com/en/alain/al-ain-oasis. Fig 6.32 Dome Pattern Development Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Dome Pattern.” Archdaily, www.archdaily.com/883157/ louvre-abu-dhabi-atelier-jean-nouvel/5a01c741b22e38b1dc000512-louvre-abu-dhabi-atelier-jeannouvel-c-ateliers-jean-nouvel-dome-pattern?next_project=no. Figure 6.33 Mashrabiya By Author Figure 6.34 ‘Falaj system’ in the Louvre Abu Dhabi Odyfolio. “Falaj Water System in the Oasis of Al Ain, in the Emirate of Abu Dhabi .” Odyfolioemirates, 2020, www.odyfolioemirates.com/en/al-ain/al-ain-oasis.

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Figure 6.35 Dome Layers. Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Dome.” Archdaily, www.archdaily.com/883157/louvreabu-dhabi-atelier-jean-nouvel/5a01c327b22e38b1dc0004fb-louvre-abu-dhabi-atelier-jean-nouvel-cateliers-jean-nouvel-dome?next_project=no. Figure 6.36 Connector for dome elements. Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Dome Structural Elementt.” Archdaily, www.archdaily. com/883157/louvre-abudhabi-atelier-jean-nouvel/5a01c33cb22e3816ed000261-louvre-abu-dhabiatelier-jean-nouvel-c-ateliers-jean-nouvel-dome-structural-element?next_project=no. Figure 6.37 Dome 8 layer structure Ateliers Jean Nouvel. “Ateliers Jean Nouvel. Dome Layers.” Archdaily, www.archdaily.com/883157/ louvre-abu-dhabi-atelier- jean-nouvel/5a01c331b22e3816ed000260-louvre-abu-dhabi-atelier-jeannouvel-c-ateliers-jean-nouvel-dome-layers. Fig 6.38 Ultra-high performance firbre concrete (UHPC) Halbe, Roland. Archdaily, www.archdaily.com/883157/louvre-abu-dhabi-atelier-jean-nouvel/5a01bf97b22e3816ed000250-louvre-abu-dhabi-atelier-jean-nouvel-photo. Fig 6.39 Pre fabricated Steel Profile “‘LA CULTURE EN PARTAGE’ Avec Frédéric MORIN Architecte-Conférencier.” Nouvel 2017 Louvre Abu Dhabi Architecture Bioclimatique Conference F.Morin, www.chambres-hotes-morin-salome.fr/ Mod-Nouvel-2017.html. Figure 6.40 Construction of the Star element for the Dome Ateliers Jean Nouvel. “Construction of the Star Element of the Dome .” Inspiration Detail, inspiration. detail.de/technology-construction-of-the-dome-over-the-louvre-abu-dhabi-113678.html. Figure 6.41 Horizontal Circulation By Author Figure 6.42 Louvre Abu Dhabi Program Ateliers Jean Nouvel. “Louvre Abu Dhabi Program .” Archdaily, www.archdaily.com/883157/louvreabu-dhabi-atelier-jean-nouvel/5a01c087b22e38b1dc0004e6-louvre-abu-dhabi-atelier-jean-nouvel-cateliers-jean-nouvel-museum-program?next_project=no.

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Figure 6.42 Louvre Abu Dhabi Program By Author Figure 6.43 Interlace Perspective Baan, Iwan. “The Interlace Perspective.” Archdaily, 2013, www.archdaily.com/627887/the-interlaceoma-2/55498741e58ece423b00001a-the-interlace-oma-2-photo. Figure 6.44 The Interlace Outline By Author Figure 6.45 Horizontal Building Blocks Baan, Iwan. “Horizontal Building Blocks .” Archdaily, 2013, www.archdaily.com/627887/the-interlaceoma-2/55498741e58ece423b00001a-the-interlace-oma-2-photo. Figure 6.46 Ole Scheeren Jonasson, Bjarne. Metropolis Mag, 16 May 2018, www.metropolismag.com/architecture/ ole-scheeren-inspiration/. Figure 6.47 Context of The Interlace A + T. “Context of the Interlace.” Aplust, 22 Sept. 2016, aplust.net/blog/formdata_land_occupation/. Figure 6.48 Concept Diagram for placement of volumes OMA. “Volumetry Diagram .” Archdaily, www.archdaily.com/627887/the-interlace-oma- 2/554987f2e58ece423b000025-the-interlace-oma-2-volumetry-diagram. Figure 6.49 Contribution towards sustainability. OMA. “Green Are Diagram .” Archdaily, www.archdaily.com/627887/the-interlace-oma- 2/554987cee58ece423b000023-the-interlace-oma-2-green-area-diagram?next_project=no. Figure 6.50 Creation of micro climate by the use of water bodies Scheeren, Ole. “The Interlace Vertical Village .” Phaidon, www.phaidon.com/agenda/architecture/ articles/2014/november/17/the-coolest-architectural-drawings-are-in-the-atlas/. Figure 6.51 Rainforest in Singapore Eckert, Joshua. “Top Five Places to Get a Taste of the Jungle in Singapore.” Lonley Planet , 11 Nov. 2014, www.lonelyplanet.com/articles/top-5-ways-to-catch-jungle-fever-in-singapore.

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Figure 6.52 Connection between the loop Sheppard, Craig. “The Interlace Envisaged as a ‘Vertical Village’ Rising from the Southern Ridges.” Wrold Landscape Architect , 9 July 2016, worldlandscapearchitect.com/the-interlace/#.X9mIiotRVPY. Figure 6.53 Landscape of the Interlace (The Hills) Lim, Melaine. “A Vertical Village by the City.” EdgeProp, 1 Aug. 2016, www.edgeprop.sg/property- news/vertical-village-city. Figure 6.54 View from the basement Baan, Iwan. “View from the Basement .” Archdaily, www.archdaily.com/627887/the-interlace-oma2/5549877ae58ece423b00001f-the-interlace-oma-2-photo. Figure 6.55 Construction of the Interlace Shin, Chu Yut. “Construction of the Interlace.” Architizer, architizer.com/blog/inspiration/stories/ amazing-engineering/. Figure 6.56 Courtyard Typologies “Courtyard Typologies.” Theinterlace, www.theinterlace.cos.sg/site-map/. Figure 6.57 Horizontal Circulation Sheppard, Craig. “The Interlace Envisaged as a ‘Vertical Village’ Rising from the Southern Ridges.” Wrold Landscape Architect , 9 July 2016, worldlandscapearchitect.com/the-interlace/#.X9mIiotRVPY. Figure 6.58 Vertical Circulation Büro Ole Scheeren. “Vertical Circulation.” Thinkingthefuture, www.re-thinkingthefuture.com/design-inspiration/a1279-the-interlace-by-oma-a-new-direction-for-cities/. Figure 6.59 Building Block Composition of Interlace By Author Figure 6.60 Zoning of Green Spaces in the Interlace Büro Ole Scheeren. “Zoning Og Green Spaces in Interlace.” Archdaily, 2013, www.archdaily. com/627887/the-interlace-oma- 2/554987b9e58ece423b000022-the-interlace-oma-2-publicspace-diagram.

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Figure 6.61 Block 186/184 Composition “Blk 184/186.” The Interlace, 16 Feb. 2015, www.theinterlace.cos.sg/floor-plans/super-level-1/ block-184186/. Figure 6.62 Block 186/184 Composition Plan “Blk 184/186.” The Interlace, 16 Feb. 2015, www.theinterlace.cos.sg/floor-plans/super-level-1/ block-184186/. By Author Figure 6.63 The Interlace Program Table Figure 6.64 CCTV HQ Program Table Figure 6.65 Louvre Abu Dhabi Program Table Figure 6.66 The Interlace Program Table Figure 7.1 All Case Studies Programs Figure 7.2 Potential Program Figure 7.3 Spatial Relationship Diagram Figure 7.4 Spatial Relationship Diagram Figure 8.1 Map of Dubai in UAE Figure 8.2 Map of Dubai with icons Figure 8.3 Al Muhaisnah 4: 18,000 m2 Figure 8.4 Al Barsha South: 14,000 m2 Figure 8.5 Nad Al Sheba 4: 48,661 m2 Figure 8.6 Al Muhaisnah 4 Circulation Diagram Figure 8.7 Al Barsha South Circulation Diagram Figure 8.8 Nad Al Sheba 4 Circulation Diagram Figure 8.9 Al Muhaisnah 4 Landmarks Diagram Figure 8.10 Al Barsha South Landmarks Diagram Figure 8.11 Nad Al Sheba 4 Landmarks Diagram Figure 8.12 Al Muhaisnah 4 Distance to Dubai Frame - 23 minutes by car Figure 8.13 Al Barsha South Distance to Mall of the Emirates - 16 minutes by car Figure 8.14 Site C Distance to Burj Khalifa - 16 minutes by car Figure 8.15 Criteria for Site Selection Figure 8.16 Al Muhaisnah 4 Figure 8.17 Al Muhaisnah 4 in context to Icons Figure 8.18 Private vs Public Program Figure 8.19 Burj Al Arab (Jumeirah St - Umm Suqeim 3)

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Firgure 8.20 Burj Khalifa (1 Sheikh Mohammed bin Rashid Blvd - Downtown Dubai) Figure 8.23 The Dubai Frame (Zabeel Park Jogging track - Za’abeel Al Kifaf) Figure 8.24 The Museum of the Future (Trade Centre 2) Figure 8.25 ICONcentric (Site - Al Muhaisnah 4) Figure 8.26 Comparision of Sites Figure 8.27 Al Muhaisnah 4 Site Context Figure 8.28 Site Conditions Figure 8.29 Mass and Void Diagram Figure 8.30 Density and Height Diagram Figure 8.31 Sun Orientation Diagram Figure 8.32 Wind Orientation Diagram Figure 8.33 Residential vs Non-Residential Figure 8.34 Conclusion of Site Analysis Figure 8.35 Site distance to Dubai International Airport Figure 9.1 Mind Map of Research Subject Figure 9.2 An extension for the Neighbourhoodv Icojam. Extension, Plugin, Puzzle Icon - Download on Iconfinder. www.iconfinder.com/icons/1282775/ extension_plugin_puzzle_icon. Figure 9.3 A landmark for the Area “Landmark Svg.” OnlineWebFonts.COM, www.onlinewebfonts.com/icon/356101. By Author Figure 9.4 Enhancing the daily activites of the residents Figure 9.5 Proposed project program Figure 9.6 Concept approach Figure 9.7 Concept Seashell Figure 9.8 Concept Connectivity Figure 9.9 Concept Oasis Figure 9.10 Mashrabiya Figure 10.1 Seashells Site Plan Figure 10.2 Connectivity Site Plan Figure 10.3 Oasis Site Plan Figure 10.4 Seashell Section Figure 10.5 Connectivity Section Figure 10.6 Oasis Section

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Figure 10.7 Seashell Aerial Perspective Figure 10.8 Seashell Human Perspective Figure 10.9 Connectivity Aerial Perspective Figure 10.10 Connectivity Human Perspective Figure 10.11 Oasis Aerial Perspective Figure 10.12 Oasis Human Perspective

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‘ICONcentric’ explores the role of icons and how they help a community. With the main focus on Dubai. The role of Icons in Dubai will be explored and have they created communities with the help of icons. Dubai has created icons that vary in project size. With projects like Burj Al Arab have helped bring tourism to the Emirate and make it a tourist destination, it has also explored different urban forms to better express different forms of community. Like the Palm Jumeirah. Giving a spectrum of communities in Dubai.