APRIL 2013 / VOLUME 07 / ISSUE 04
An ITP Business Publication
NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC p2// FRONT Foster + Partners unveils new airport in Amman, Jordan
p4// PEOPLE RNL and Woods Bagot appoint new UAE principals
p14// PROFILE The life and work of Pritzker Prize winner Toyo Ito
INTERVIEW
Veteran architect Steven Miller on his move to construction firm Shapoorji Pallonji /p22
SAFE HAVEN Discovering the calm environment and Arabic inspired details of the Dubai Foundation for Women and Children, designed by U+A Architects
COMMENT ARE ARCHITECTS EVER SATISFIED? CASE STUDY NORR’S SCULPTED SAUDI OFFICE TOWER
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APRIL | CONTENTS
APRIL 2013 VOLUME 7 ISSUE 04 2
FRONT
Top stories in the world of architecture, including Jordan’s new airport
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PEOPLE Key regional appointments, famous architect news and top quotes
PROJECTS A round up of the latest project news from MENA and the rest of the world
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THE BIG PICTURE The captivating skylight in Foster + Partners’ ME hotel in London
PROFILE The life and work of this year’s Pritzker Prize winner, Toyo Ito
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INTERVIEW
MEA speaks to Steven Miller and colleagues at Shapoorji Pallonji
SITE VISIT
Exploring U+A’s new shelter for women and children in Dubai
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CASE STUDIES Baku’s new icon, Al Khobar offices, Foster in London and a cooking school
THE WORK A detailed reference section covering all the best projects in the world
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CULTURE A snapshot of funky furniture, books and other accessories in the market
LAST WORD Mark McCarthy, education design principal at Perkins Eastman, on school design
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FRONT | APRIL
1941
Year that Japan’s Toyo Ito was born (page 14)
FOSTER + PARTNERS’ AIRPORT OPENS IN JORDAN Nigel Young, Foster + Partners
Striking roof structure contains a series of modular concrete domes
12M ESTIMATED CAPACITY PER ANNUM BY 2030
TOP STORY Queen Alia International Airport, the new gateway to Amman designed by Foster + Partners, has officially opened. The modular solution allows for future expansion, growing by 6% per annum for the next 25 years, increasing capacity from 3.5 million to 12 million passengers per annum by 2030. Mouzhan Majidi, chief executive, Foster + Partners, added: “The new terminal building is energy efficient,
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will accommodate phased expansion and provides a dynamic symbol for Jordan.” In response to Amman’s climate, with dramatic swings in temperature, the building is constructed largely from concrete. The tessellated roof canopy contains a series of shallow concrete domes, which extend to shade the facades. Each dome provided a modular unit for construction. Domes branch out from the supporting columns like the leaves of a
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
The capacity can grow by 6% per annum.
desert palm and daylight floods the concourse through split beams at the column junctions. Echoing the veins of a leaf, a geometric pattern based on traditional Islamic forms is applied to each exposed soffit. Two piers of departure gates run along both sides of the central building, which contains the main processing areas and shops, lounges and restaurants. The architect is also designing Kuwait International Airport.
APRIL | FRONT
10M
150M
Budget, in AED, for U&A’s Dubai clinic (page 28)
Height of Norr Group’s Al Khobar office tower (page 44)
SOM d designs i ttwin i towers for Emaar
A sky bridge links the two towers.
Emaar Properties has revealed its plans for The Address Residence Sky View in Downtown Dubai, a 50-storey twin tower complex designed by SOM. A sky bridge podium linking the tower towers will contain a restaurant, ballroom, infinity pool and an amenity deck. Emaar has once again teamed up with the architect behind its 828mhigh show-stopper Burj Khalifa. The towers will contain a new 180-bed business hotel, as well as 532 residences and serviced apartments which will link directly to Dubai Mall and the metro system.
MZ’s Qatar masterplan triumphs in Cannes MZ won the Masterplanning Award for its design of The Valley City – Qatar at this year’s MIPIM Architectural Review Future Project Awards in Cannes, France. Designed for Qatari real estate company Sak Holding Group, the project was one of around 200 entries to the awards that focus on projects on the drawing board. The judges said the project stood out as “an unusual proposition for Gulf city-making without recourse to the ubiquitous glass tower”. The panel also noted: “The analysis of how conventional urban forms are the consequence of inheritance
and sub division provides the basis for an intriguing alternative.” Located on a 3 million m2 desert plot, the Valley City is intended as a settlement for middle-income expatriates and Qatari citizens, developed using Chaos Theory as a foundation and mathematical tool.
DESIGNMENA.COM This month’s top stories from the online home of Middle East Architect • MZ Architects wins MIPIM award for Qatar masterplan • Toyo Ito wins 2013 Pritzker Prize • HOK’s Flame Towers near completion • Woods Bagot appoints new principal for Dubai office • Dubai to receive mandatory green building rules
WEIRD PROJECT OF THE MONTH
Vincent Callebaut, a Belgian architect known for creating urban eco-visions, has designed a project entitled ‘Asian Cairns’ for Shenzhen, China, which looks like giant pebbles stuck together.
DATASTREAM MOST EXPENSIVE BUILDINGS
Data: Emporis/ World Record Academy
1. PALACE OF THE PARLIAMENT, BUCHAREST
$4 BILLION
2. PALAZZO, LAS VEGAS
$1.9 BILLION
3. TAIPEI 101, TAIWAN
$1.8 BILLION
4.BURJ KHALIFA, DUBAI Chaos Theory was an inspiration.
$1.8 BILLION
www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
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FRONT | APRIL
PEOPLE
New Dubai principal at Woods Bagot
Jess Alexander is now associate principal.
RNL promotes Abu Dhabi architect The Abu Dhabi office of design fi rm RNL has appointed Jess Alexander as associate principal, a specialist in sustainable urban design and master planning. Alexander’s focus has been on design and project management on a variety of new cities, communities and developments, many of them located in the UAE and Middle East. His experience includes the design and documentation of a 500-acre LEEDNeighbourhood Development pilot project for the US Green Building Council. Alexander coordinates and implementing strategies on a number of RNL’s master planning projects, as well as managing several schemes in the MENA region. The Denver-based fi rm also promoted Brad Buchanan, leader of the commercial market, and Andrew Irvine, leader of the urban design market, to the company’s board of directors. In addition to its offices in Denver and Abu Dhabi, RNL is present in Los Angeles, Phoenix, Washington DC and Singapore.
Research conducted in Scotland and South Africa has proven that thatched roofs and timber pergolas are the most sensible and environmentally friendly roofing and shading structures available today.” ANDRE VAN HEERDEN, managing partner, Cape Reed Group Of Companies
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Julie Knight has recently been appointed principal at the Dubai office of Woods Bagot, having spent over 15 years working throughout the Middle East. Knight leads the Workplace Sector in the Dubai studio and is also a senior consultant member in the Workplace Consulting team. After studying architecture in Australia, Knight relocated to New York where she worked for many years in a leading workplace design fi rm whose clients included the world’s top multinationals. Since relocating to the Middle East, she has continued to prove herself in the areas of workplace interior design and project management. She has played an integral role in the major consulting and interior design project for Qatar Petroleum in Doha, said to be the largest workplace project in the world. Her 15 years of professional experience in the Middle East has enabled her to develop a deep understanding of the cultural and business climate of the region.
60 SECOND INTERVIEW RIZWAN SAJAN, FOUNDER AND CHAIRMAN OF DANUBE What are the latest trends in flooring in the Middle East? The trend is moving from traditional brick designs to modern herringbone or fish bone patterns, diagonal flooring and picture frame wood flooring. Also, a combination of colours and wood species gives a rich look. What is your most popular flooring in the region? One of the most popular is laminated HDF floors as they offer ample design options at economic prices. Engineered flooring is also another preferred option for the UAE, as these floors are well manufactured to eliminate the natural expansion and contraction effect on the wood in the given climatic conditions.
Julie Knight has been appointed principal.
Different styles of management can lead to someone who is a good project manager on one job but not another.” STEVE LAW, director of project management, Sweett Group
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KSA developers and owners should look more closely into building more affordably-priced units, especially as the Kingdom’s low- and middle-income population is rapidly expanding.” MOHAMAD RABIH ITANI, vice president, marking, Injaz
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FRONT | APRIL
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MENA PROJECT SNAPSHOT 1 ABU DHABI
2 TURKEY
3 DUBAI
Construction to start on Mushrif Central Park
Work begins on Istanbul’s financial centre
Flower tower on show at UAE design show
The redevelopment of Mushrif Central Park will start shortly, with completion set for early 2015. Developed by Al Ain Properties, the project will transform the existing park, currently only open to women and children, into a space for the community. Dubbed the ‘people’s park’ it will include a children’s garden, performing arts venue, botanic garden and shade house, an evening garden and a petting zoo.
Construction has started on the US$2.6bn Istanbul International Financial Centre, masterplanned by HOK, which is being built on a 70ha site on the city’s Asian side. The IIFC will house offices for the country’s financial market governing bodies, banks, and other related businesses. It will include approximately 4.2 million m2 of office, residential, retail, conference, hotel and park space.
A residential tower with plants built into its façades and balconies was unveiled at the Outdoor Design Build & Supply Show, which took place in Dubai in March. The ‘Flower Tower’ is the creation of French architect Edouard Francois, and is designed to be an extension of surrounding parks, blending gardens with concrete and glass. The novel concept was presented by Italian company Teracre.
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UNITED SQUARE, ABU DHABI, UNITED ARAB EMIRATES
BASRA CULTURAL PALACE, BASRA, IRAQ
ADEC SCHOOLS, AL AIN & ABU DHABI, UAE
AL KARKH DEVELOPMENT, BAGHDAD, IRAQ
PHOENIX TOWER, DUBAI, UNITED ARAB EMIRATES
ARAC HOTEL, AL KHOBAR, SAUDI ARABIA
AKH TOWER, DAMMAM, SAUDI ARABIA
ABU DHABI | DUBAI | BAGHDAD | BASRA | RIYADH | DOHA | MANILA | MUMBAI
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FRONT | APRIL
1 DUBAI
2 QATAR
3 ABU DHABI
DEWA’s LEED Platinum building opens
Holland’s OMA to masterplan Airport City in Doha
Stride Treglown wins two Reem island academies
DEWA has opened the largest government building in the world to secure a LEED Platinum rating. Green features reduce energy consumption by 66% and water by 48%. Abullah Obaidullah, EVP of Water and Civil at DEWA, said: “The new building, which occupies 340,000 square feet is part of our ‘Green Buildings’ initiative to achieve the highest levels of efficiency in the consumption of electricity and water.”
Dutch studio OMA has been chosen to masterplan a business and residential development linking Doha with the new Hamad International Airport. ‘Airport City’ is a 1,000ha masterplan with four districts along a “green spine” running parallel with the airport’s runways. This spine connects the business and logistics district with the aviation district, while a residential area sits next to the new Doha Bay Marina.
Stride Treglown has been appointed by Advanced Education Services, LLC to deliver two academies in the centre of the new Najmat community on Reem Island in Abu Dhabi. Najmat Al-Reem Arabic Academy (pictured) and Najmat Al-Reem International Academy will house 2,000 students each and are due to open in September 2014. A signature framed canopy sails over the focal elevation of each academy.
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FRONT | APRIL
1 2
3
GLOBAL PROJECT SNAPSHOT 1 DENMARK
2 SWEDEN
3 UK
Work starts on energy plant with built-in ski slope
Henning Larsen and Buro Happold win R&D centre
UNStudio unveils first project in United Kingdom
Danish firm BIG celebrated the start of construction on its audacious waste to energy plant which doubles as a ski slope, outside Copenhagen. Located in an industrial area near the city centre, the roof of the plant will contain a ski slope of varying skill levels for the citizens in the capital. The project is the largest environmental initiative in Denmark and replaces the outdated Amagerforbraending plant.
A team containing Henning Larsen Architects and Buro Happold has won a competition for the world’s largest facility for neutron-based research in Lund, Sweden. The campus contains a 180m-long hall in which protons are fired at a target, sending neutrons to a number of halls with measuring instruments. Research at ESS is expected to commence in 2019, while the entire facility will be completed by 2025.
Amsterdam-based UNStudio has unveiled a 30-storey residential block called Canaletto, on London’s City Road, the firm’s first ever UK project. The tower features a curving façade of metal and glass that breaks into a series of three to five storey clusters, conceived as individual neighbourhoods. Canaletto provides 190 apartments, a health club, swimming pool, private cinema, restaurant and a members’ club.
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FRONT | APRIL
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APRIL | FRONT
THE BIG PICTURE
THE LIGHT FANTASTIC Captured by photographer Nigel Young, this image depicts the beguiling skylight in Foster + Partners’ newly opened ME Hotel in London. The lobby is housed within a nine storey-high pyramidal space, clad entirely in white marble.
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PROFILE | TOYO ITO
Yatsushiro Municipal Museum, 1988 —1991, Yatsushiro-shi, Kumamoto, Japan.
Dome in Odate, 1993—1997, Odate-shi, Akita, Japan.
Tama Art University Library (Hachiōji campus), 2004—2007, Hachioji-shi, Tokyo, Japan.
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Serpentine Gallery Pavilion, 2002, London, UK.
TOYO ITO | PROFILE
Toyo Ito Museum of Architecture, 2006—2011, Imabari-shi, Japan.
BOUNDARY PUSHER M PROFILE
A look at the life and work of 2013 Pritzker Prize-winner, Japanese architect Toyo Ito
any famous architects, such as Richard Meier, Frank Gehry and Zaha Hadid are beloved for their signature styles that are instantly recognisable. Others, including Japanese architect Toyo Ito, are admired for their purposeful rejection of a house style. Upon receiving the 2013 Pritzker Prize, the 71-year-old designer remarked: “I will never fi x my architectural style and never be satisfied with my works.”
Ito’s self-critical and humble approach to design was one of his key qualities, according to the Pritzker jury. “For nearly 40 years, Toyo Ito has pursued excellence. His work has remained static and has never been predictable,” said Glenn Murcutt, Australian architect and Pritzker Laureate 2002. Fellow juror, Chinese architect Yung Ho Chang, added: “Although Mr Ito has built a great number of buildings in his career, in my view, he has been working on one project all along — to push the boundaries of architecture. And to achieve that goal, he is not
www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
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PROFILE | TOYO ITO
afraid of letting go what he has accom“In the modern period, architecture has been plished before.” rated highest for its originality. As a result, the Toyo Ito was born on June 1, 1941 in most primal themes — why a building is made Seoul, Korea to Japanese parents. In 1943, Ito, his mother, and his two elder and for whom — have been forgotten. sisters moved back to Japan. Two years later, Ito’s father returned to Japan, and they all lived in his hometown of Shimosuwa-machi in Nagano Prefecture. After the death of Ito’s father in 1953, the rest of family operated a factory that manufactured miso (bean paste). In his youth, Ito admits to not having a great interest in architecture, rather a strong passion for baseball. This changed when he attended an undergraduate diploma design course at the University of Tokyo, subsequently winning the university’s top prize for a design project. Ito began working in the firm of Kiyonori Kikutake & Associates after he graduated in 1965. By 1971, he was ready to start his own studio in Tokyo, and named it Urban Robot (Urbot), changing the name to Toyo Ito & Associates, Architects in 1979. One of Ito’s first projects in 1971 was a home, in a suburb of Tokyo, called Aluminum House. As the name suggests, the structure consisted of a wooden frame completely covered in aluminum. Most of his early works were residences, including the 1976 house ‘White U’ for his sister, greatly admired for its striking form, but demolished in 1997. In the 80s, Ito adopted a minimalist approach, developing a lightness inspired by air and wind. He cites the Sendai Mediatheque, completed in 2001 in Sendai City, Miyagi, Japan, as one of the high points of his career. Functioning as a library and art gallery, the building is a simple structure, consisting of flat concrete slabs, honeycomb steel plates with concrete, penetrated After designing critically-acclaimed buildings such as Sendai by 13 tubes. Mediatheque, Ito became an architect of international imporMore recently, Ito created a building in the fashionable Omotetance during the early-2000s, which led to project commissions sando area of Tokyo for TOD’S, an Italian shoe and handbag comthroughout Asia, Europe, North America and South America. He pany, in which trees provided a source of inspiration. The higher designed the Main Stadium for the 2009 World Games in Kaohup the building, the thinner and more numerous the branches siung and the under-construction Taichung Metropolitan Opera become, with a higher ratio of openings. Similarly, the building House, both in Taiwan. unfolds as interior spaces with various ambiances which relate to In Europe, Ito and his practice renovated the façade of the the various intended uses. Suites Avenue Apartments with striking stainless steel waves
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TOYO ITO | PROFILE
and designed the temporary Serpentine Pavilion Gallery in London’s Hyde Park in an annual showcase commissioned to a superstar architect. The pavilion, completed in 2002, was described by The Guardian’s Jonathan Glancey as “one of the most exquisite and revolutionary buildings of recent times”. Other projects he worked on during this period include the White O residence in Marbella, Chile, and the never-built University of California, Berkeley Art Museum/Pacific Film Archive in California. Back in his home country, the earthquake and tsunami of March 2011 spurred Ito and a group of other Japanese architects to develop the concept of “Home-for-All” communal space for survivors. In the book Toyo Ito — Forces of Nature published by Princeton Architectural Press, he remarked: “What we see here are very origins of architecture, the minimal shaping of communal spaces. An architect is someone who can make such spaces for meagre meals show a little more humanity, make them a little more beautiful, a little more comfortable.” He added: “In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes — why a building is made and for whom — have been forgotten. A disaster zone, where everything is lost offers the opportunity for us to take a fresh look, from the ground up, at what architecture really is. “Home-for-all may consist of small buildings, but it calls to the fore the vital question of what form architecture should take in the modern era — even calling into question the most primal themes, the very meaning of architecture.” Ito’s portfolio and significance can also be seen in the museum of architecture that bears his name on the small island of Omishima in the Seto Inland Sea. Also designed by Ito, the museum opened in 2011 and showcases his past projects as well as serving as a workshop for young architects. Two buildings are located in the complex — the main building Steel Hut and the nearby Silver Hut, a recreation of the architect’s former home in Tokyo from 1984. Prior to winning the Pritzker Prize, Ito scooped The Royal Institute of British Architects’ Royal Gold Medal and the 22nd Praemium Imperiale in 2010. Ito becomes the sixth Japanese architect to receive a Pritzker, the first five being the late Kenzo Tange in 1987, Fumihiko Maki in 1993, Tadao Ando in 1995, and the team of Kazuyo Sejima and Ryue Nishizawa in 2010. The wealth of design quality that has emerged from the East Asian country is typified by Ito’s modus operandi, where building projects are viewed as a “challenge” rather than a chance for an ego-driven tour-de-force. “When one building is completed, I become painfully aware of my own inadequacy, and it turns into energy to challenge the next project. Probably this process must keep repeating itself in the future,” he remarked, after winning the biggest prize in architecture.
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www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
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COMMENT | EDITOR’S LETTER
FEELING GOOD EDITOR’S LETTER
Is it possible for architects to be satisfied with their work?
GOT A COMMENT? If you have any comments to make on this month’s issue, please e-mail oliver. ephgrave @itp.com
T
his month’s big news in the architecture world was the announcement of the annual Pritzker Prize, which went to Toyo Ito, a 71-year-old Japanese architect. Remarkably, Ito was the sixth Pritzker laureate from Japan, which shows the strength of design stemming from the Asian country. Despite being praised for his impeccable and inventive portfolio, Ito was not in the mood to pat himself on the back and bask in the glory of his accomplishment. Instead, he remarked: “I will never fi x my architectural style and never be satisfied with my works.” Similar words were uttered by
Norman Foster during a talk in Abu Dhabi last November, alongside Frank Gehry and Jean Nouvel. Foster said: “Architects are...anti social, because they are so consumed by the process of design. I fi nd that I am never satisfied. I always want to have another go. In our practice we are always redesigning up to the last possible minute.” This got me thinking. Is it prerequisite for every top architect to be an extreme perfectionist that is never satisfied? You can certainly see a quest for perfectionism, or at least complete control, in the works of many great architects. The likes of Frank Lloyd Wright, Le Corbusier, Mies van der
Perfection? Toyo Ito’s Serpentine Gallery pavilion in London.
Whenever I go on a site visit, it’s common for the architect to point out a detail that bugs them, such as a window not lining up or a skirting board that protrudes too much.”
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
Rohe would, in many cases, design every detail down to the furniture, rather than let anyone else tamper with their visions. This perfectionism, of course, is not just limited to famous architects. Whenever I go on a site visit, it’s very common for the architect to point out a minor detail that bugs them, such as a window not lining up or a skirting board that protrudes too much. Needless to say, perfectionism can make the difference between something good and something great. And it extends to any creative discipline, not just architecture. But surely it is possible to create something fantastic and feel proud of it? Surely architects are able to let go of the tiny flaws, that most people probably won’t even notice, and feel a sense of achievement? I can imagine that each architect is different, and the degree of perfectionism will depend on the individual’s personality and level of involvement in the design. Perhaps for architects such as Ito and Foster, it’s impossible to be professionally fulfi lled, despite all their success and plaudits. Not being a practicing architect, I am unable to answer these questions. I’d be interested to hear the thoughts of Middle East Architect readers. Do you feel a sense of satisfaction when a great project is completed, or are you unable to sleep if the skirting boards are a couple of millimetres too thick?
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COMMENT | GEORGINA CHAKAR
RISING GIANTS OPINION
The UAE is in the process of building spectacular vernacular
Georgina Chakar is an Australian architect and a Master of Urban Planning. She works in Abu Dhabi
A
t the close of the first quarter of 2013, we can cast an eye over the architectural development of the Emirates. It appears as though the cranes are once again moving in Dubai and Abu Dhabi. The reasoning for this, however, varies between the two emirates. In Dubai, while a few new mega projects have been announced for the near future, the intention is to complete all buildings that were halted in the peak of the financial crisis. In Abu Dhabi it is a different story. Since the funds for the Cultural District on Saadiyat Island have been released, Abu Dhabi is witnessing the rise of two different types of giants. Aside from the buildings of the Cultural District, we are seeing
gigantic governmental complexes, designed to demonstrate the power and the strength of the state, and the traditional architecture of the region. For example, we have the Louvre, Guggenheim, the Maritime and the Sheikh Zayed National museums on one side and the Emirates Palace and the Presidential Palace under construction on the Ras Al Akhdar peninsula on the other. Abu Dhabi is a centre for making and remaking. The revitalisation of buildings in the vicinity of Old Airport Road, the shaping of the skyline along the Corniche, the expansion of the industrial zones and Zayed Port, as well as the construction of religious buildings are changing the face of Abu Dhabi from day to day. But there is more than that which is The Louvre Abu Dhabi by Jean Nouvel.
In Abu Dhabi, the focus is on the governmental versus the cultural mega developments. Both of them demonstrate power, strength and wealth but follow different concepts.”
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important for generations to come; something that confirms once again that architecture is a demonstration of the era and place in which buildings were constructed, even at a time when construction technology building materials are applicable anywhere in the world. The focus, in this regard, is on the governmental versus the cultural mega developments. Both of them demonstrate power, strength and wealth but follow different concepts. The cultural buildings are designed to create an asset for the world; their designs are sculptural, inspired by the eight-cornered star, the wind-towers or the dunes of the desert. Meanwhile, the intention to embed traditional architectural features in the governmental buildings reaches a different level. What is seen on the façade of the Emirates Palace Hotel and the Presidential Palace located adjacent to the hotel, and on projects in the making, is different from the inherited government buildings. In the past they were confined to forts. Today they are the face of a country experiencing great economic prosperity. In a way, the Emirates Palace sets new standards for local traditional architecture by expanding the notion of traditional design with the introduction of modern concepts. These developments demonstrate the time and the current prosperity of Abu Dhabi and the entire UAE. They will become the traditional architecture of the Emirates, laying the foundations for future generations to recognise their roots.
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INTERVIEW | SHAPOORJI PALLONJI
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SHAPOORJI PALLONJI | INTERVIEW
BETTER TOGETHER INTERVIEW
Indian construction giant Shapoorji Pallonji has recently recruited veteran architect Steven Miller. MEA meets Miller and his colleagues to learn about the company’s design and build offering
S
itting in the palatial board room at his office in Dubai Airport Freezone, Steven Miller is clearly revelling in his new role. The veteran architect and familiar face to MEA readers has recently turned to the other side of the table, having been recruited by Indian construction giant Shapoorji Pallonji. From the get-go, Miller is keen to explain the latest chapter to his life story. The ever-effervescent American remarks: “When I was doing architecture, you had to kill yourself for a US$3-4m fee and here you do the same amount of work for hundreds of millions of dollars. I’ve found out in four months that one is no more difficult than the other. “To me the strongest part of this whole company is being in business for 148 years. It’s been in the region for 40 years. Financially we are very, very strong. We are privately owned by a very wealthy family. Even the oldest member of the family — who is finally someone who is older than me — takes a tremendous interest in it. The company has never defaulted on anything and it has never been in litigation.” Miller, the vice president of business development, is joined in the room by Chandrakant Patel, deputy general manager of design and business development, and Biju Oommachan, head of design. Patel, who like Miller was previously an architect, adds: “I spent my life the other side of the table. But it’s nice working for a contractor on a different role.” Shapoorji Pallonji Group now boasts over 23,000 employees with a group turnover of US$2.5bn. The expertise of Miller and Patel are being exploited to advance the company’s design and build offering. Oommachan explains: “Lately we decided to set up a design centre, because we are moving in that direction of design and build jobs in international markets — outside India. In India, we have
a separate design and build division, so we are setting up a design centre in Dubai that will cater to all the other international destinations. In a nascent stage, we are very small at the moment.” He continues: “We will have architects, structures, MEP, technicians to support teams. Having said that, we may not get into designing the buildings as such because we don’t want to get into the design indemnity. “We will have to go for an architect of record, therefore in each different country we may engage an architect and get the design done by them. We have nowhere near what it takes to be a design build firm, we are aware of that, but we are aiming at it.” When asked how many employees are needed, Miller replies: “It depends on the amount of work we get. I did a matrix, and took eight projects that we have been negotiating for. “If those eight projects happen, then seven of them would require 50 people. One would be so big it could be a life of its own and could have 20 people by itself. That’s because it’s multiple buildings on a university campus.” Regarding the benefits of design and build, Miller remarks: “People say, ‘why design and build?’ The added value is time savings. There’s nothing else. You are going to pay for the architect one way or another. Also you don’t have to wait for a full set of drawings and wait for somebody like us to take two months to price it out and give a guaranteed price. “We’re offering open book pricing from day one . We set the square metres when we start, then we’ll tighten it. When we get a set of schematic designs or development drawings, depending on the type of project, if you want we’ll stay open book in which we are only interested in getting overhead and fees, or we’ll lock a price, and you’ll pay a lump sum. “You have a choice, by the time the architect has done his concept, you would have known you would be over-budget. They are going to lose months redrawing.”
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INTERVIEW | SHAPOORJI PALLONJI
He reveals that the upcoming stadium programme is on the radar for the company. “We are expecting to be invited to do the stadiums. Fortunately or unfortunately, they think of Indian contractors doing cricket stadiums, but no one will think of us doing soccer stadiums. “But we’ve spoken to Swedish, Spanish, Italian and Greek construction companies that do PM services because FIFA will see the European names. When we tie in, we’re there. None of these firms have a full contingent and licensing in Qatar. You have to plan these things now. Remember these stadiums are $600900m each. We’re thinking, because it is already two years behind schedule, they might be design-build as well.” Miller adds that the company is eyeing up the contracts for building the metro stations in Doha, as well as two “very large” medical projects. Outside the Middle East and India, the firm is highly active in West Africa. Oommachan explains: “Shapoorji Pallonji always knew that certain countries in West Africa will develop in the future, and good political conditions in that region has strengthened that view. These countries [in West Africa] require housing, hospitals, hotels and as a company we have experience in those areas.” This region is the perfect place to utilise the company’s design and build philosophy, according to Oommachan. He continues: “What happens is that all these projects are wanted urgently by the clients. As Steven says, to save them time, the only thing that makes it possible is design and build. “Design and construction goes hand in hand. That is where the design team is required — we don’t wait for a set of drawings to be supplied by the consultant. Of course there will be architects of record taken on board.” Miller adds that the scale of the company’s projects has surprised him. “We built 70,000 housing units in Calcutta and we are pushing for thousand like this in Sri Lanka, Algeria, Ghana, etc. “It’s a very interesting breadth that I’m seeing which as an architect I’d never see. Why hire an architect of my background to design tunnelform high rises in a place that’s as big as a town? While I’m adding some expertise, I’m also seeing things I’ve never seen before, which is rather interesting,” Miller concludes.
Biju Oommachan, head of design; Steven Miller, vice president of business development; Chandrakant Patel, deputy general manager of design and business development.
Miller explains key targets for the company in the Middle East are the “monster markets” of KSA, Qatar and Iraq. He says: “We’re really energised by Iraq — we have one project which is three different buildings — shopping centre, villas and hotel — under construction in Basra. There’s also six initiatives in Kurdistan. “Unfortunately in the ministerial level of Iraq they still don’t understand pricing. You say the lowest price and they say ‘no, go and build it for half of that’. So nothing gets built. Show me one new real hospital in Iraq. They’ve got the money but they don’t understand what a hospital costs. In this part of the world, it’s $720-900,000 a bed, depending on the equipment. But we do believe the Iraq market is really big, they are looking for housing and the hotel market is endless. We are bidding on a hotel. “In Saudi we are very busy — we used to have as many as 3,000 employees out there, and now we need more. Saudi’s biggest problem for contractors is getting visas for your workers. They want 30% Saudis. Show me one Saudi who is going to go out in 50°C weather and work. So it’s very hard.” Regarding the company’s operations in Qatar, Miller remarks: “We are quite busy there. We have about 1,700 people in Doha.”
People say, ‘why design and build?’ The added value is time savings. There’s nothing else. You are going to pay for the architect one way or another.” 24
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INTERVIEW | SHAPOORJI PALLONJI
PORTFOLIO: SHAPOORJI PALLONJI MARRIOTT HOTEL, ABU DHABI The 315-room Abu Dhabi Marriott will be part of the Bloom Central development on Airport Road. HILTON HOTEL, RIYADH This striking project for hotel giant Hilton features a distinctive tubular form. PARK TOWERS, DUBAI Dubai’s ‘double gherkin’ by developer Damac is now a highlight of the emirate’s famed skyline.
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SHAPOORJI PALLONJI | INTERVIEW
BARWA GRAND MOSQUE, DOHA The Grand Mosque in Barwa City, Qatar, is being built by Shapoorji Pallonji. The mosque forms part of Barwa City, a development comprising around 6,000 apartments in 128 buildings, spread across 1.35 million m2 SHATT AL ARAB HOTEL, BASRA This hotel being built by Shapoorji Pallonji is situated by the Shatt Al Arab river near Basra in Iraq. Iraq was described by Steven Miller as one of the three â&#x20AC;&#x2DC;monster marketsâ&#x20AC;&#x2122; in the Middle East.
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SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
SAFE HAVEN Oliver Ephgrave visits Dubai Foundation for Women and Children, a serene shelter with contemporary Arabic inďŹ&#x201A; uences, designed by U+A Architects
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SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
The complex features a mixture of materials and volumes.
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n a region fi lled with grandiose schemes and cloud-piercing structures, it’s not often that Middle East Architect visits a small-scale project, let alone one that is spread across a single floor. Functioning as a non-profit shelter for abused women and children, the U+A Architects’ designed scheme near Dubai’s Dragonmart is an intimate and serene haven which seems a million miles from the bustle of the city. Dubai Foundation for Women and Children was established in July 2007 to offer victims immediate protection and support services in accordance with international human rights obligations.
Dubai and Toronto based U+A Architects was hired to design an extension to an existing building on the site, bringing the total area up from around 400m2 to 1,0002 . Martin Dufresne, partner, U+A, explains: “We needed to create something that was new but joined with the old section, rather than destroying it. It’s a bit difficult dealing with a 20-year-old building that is vernacular but not spectacular.” The project was due for its soft opening at the end of March, and was in the fi nal snagging stage at the time of MEA’s visit, teeming with representatives from the client, contractor and the architect. A six-strong team from U+A was responsible for the design, as well as the MEP and structures, while the construction was undertaken
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
by Al Sahel Contracting. Construction started in April 2012, with design commencing six months prior to that. Dufresne leads the tour party to the entrance for clients, which is notable for its elegant wooden sloped ceiling and marble floor. He continues: “As this is a haven for women and children that are distressed, we wanted to create something calm and serene, bringing in as much daylighting as possible. Before it was very clinical, so we went in a homey direction. In the individual rooms we’ve used green carpets and calm colours for the walls, and we’ve used as much natural materials as possible. The wood warms it up. “It contains lots of openings and we’re bringing in as much of
SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
the outside in as possible. The landscape design will be very green and everywhere you turn there is an interesting outlook.” U+A partner Pedram Rad adds: “It’s meant to be a happy place and the building is designed as an embracing gesture in plan. The transparency was important, as was creating a nice environment where the managers can sit out.” The building contains client consultation and observation rooms on one side and administrative offices on the other, separated by an impressive central courtyard. Dufresne remarks: “The courtyard is the centrepiece. It contains shading screens which makes the area more soft and zen-like. The materials include teak and limestone.” Rad continues: “The shading is very important — we designed the courtyard to respect the climate, with not too much glass. “It is reminiscent of the region’s traditional architecture, like Bastakiya. The courtyard will eventually contain landscaping and act as a green layer in between the two sections.” “It’s important not to have much visual connection between the two sides. Each office contains a window. I would love to work in an office like this,” says Dufresne. According to the client, each room will contain one member of staff, with 20 case managers for therapy, as well as higher managers. The clinical area contains rooms with one-way mirrors and observation rooms. A grand corridor which connects the offices is notable for a ceiling with curved gypsum panels and skylights on one side, resembling a periscope. The east-facing windows allow the morning light to fi lter through. The most transparent internal space is the centrally-placed
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We tried to keep the quality but within the budget, as it’s not a five-star hotel. I think we achieved that. Material selection was a big challenge.” Pedram Rad, U+A
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
The impressive central courtyard.
DUBAI FOUNDATION FOR WOMEN AND CHILDREN | SITE VISIT
conference area, located just off the courtyard. Rad explains that this room is a ‘prestige’ space. “Many important people will visit the Dubai Foundation periodically, such as the royal family, the UN and the police.” Dufresne adds: “The teak flooring in this room has very wide planks, with a little edge to them — it makes a big difference. So many floors are flat. I’m obsessed with every detail. The contractor did a good job on the fi nishing. There’s still a bit of snagging to do.” Pointing at the skirting, he remarks: “I wanted it to be flush with the wall, and had to fight for it. I hate it when it looks attached to the wall.” Further down the corridor a pantry is used as a point of gathering. The wall contains bright purple panels, a corporate colour of Dubai Foundation. Rad explains that Dubai Foundation is working on several other projects, within a masterplan designed by U+A. He continues: Aluminium columns “It’s a huge compound. The next support the shading. building to do is an office; it is tendering next week. They are doing it building by building when they are getting the budget. There are so many other things.” Rad reveals that the budget for the shelter was $2.73m (approx AED10m). He adds: “We tried to keep the quality but within the budget, as it’s not a five-star 2 hotel. I think we achieved that. Material selection was AREA OF THE SHELTER a big challenge and they were sourced as locally as possible. Everything is natural but it had to meet the budget.” When it comes to the issue of cooling the building, Dufresne comments: “There are several drafts through the building and
1,000 METRES
it’s very airy. The screens fi lter the light to reduce heat gain and the mechanical systems bring that to sustainable levels.” He adds that a LEED certification was not requested by the client. The tour moves outside to examine the various façades. The west facing façade contains a mashrabiya-esque screen which protrudes from the main skin to shield the offices. “There’s an irregularity to the timber, which I think is nice. It responds to the sun angle and the thing to remember is that people working here will leave at 3pm. Originally the screen was going to be lower but I thought it would be too claustrophobic,” explains Dufresne. He continues: “Instead of using traditional mashrabiyas we have made it more contemporary. I worked in South-East Asia where people experiment with interesting ways to fi lter the light. Here, if you present a screen, people will automatically say: ‘I have to see out of my window’. But it is just a fi lter. I’m quite pleased how it turned out. “Once there is vegetation the whole form will connect with the ground. The gap between the screen and the façade is 900cm. We had an issue with the wind, so we set it back more.” The façade contains two varieties of orange-brown wood as well as two types of stone, which are pale and black. “I don’t mind a variety of colours so long as it’s not a rainbow,” adds Dufresne. The back façade, which is currently tucked away from throughtraffic, offers the best vantage point to view the different volumes that run through the building — including the courtyard and the corridor with skylights. Rad points out that the lower layer of black stone is intended to make the building appear as if it is floating. He also draws attention
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SITE VISIT
The teak flooring in this room has very wide planks, with a little edge to them — it makes a big difference. So many floors are flat. I'm obsessed with every detail.” Martin Dufresne, U+A
to the extension to the windows so that they match with the timber. The building’s most visible façade, on the opposite side, contains aluminium posts supporting a shading screen that acts as a visual The shading extension of the courtyard. The protrudes from the façade is raised on a plinth of travfacade. ertine to “make it more special” according to Dufresne. With its plinth, intimate scale and simple, clean planes, the building vaguely recalls the seminal Barcelona Pavilion by Ludwig Mies van der Rohe. When asked if this is a fair comparison, BUDGET FOR Dufresne replies: “Oh THE SCHEME yeah. With any contemporary architecture, the Barcelona Pavilion would be the main influence.” As an afterthought, he adds: “I would change a few details but not much. I’m quite demanding.” The architect’s demands certainly seem worthwhile, as U+A’s fastidious approach and attention to detail has lifted the project far above the ordinary.
AED10 MILLION
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
Teak was the chosen wood.
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FLAME TOWERS | CASE STUDY
FLAME TOWERS Architect: HOK Location: Baku, Azerbaijan CASE STUDY
THE PROJECT The construction of Baku’s striking complex of three mixed-use high rises, the Flame Towers, is now complete with interior fit out well underway. HOK has undertaken masterplanning, concept and schematic design, with DiA Holdings as design and build contractor and Azinko MMC as engineer. A residential tower sits to the south, with 130 residential apartments over 39 floors, and is the tallest of the three towers. The Fairmont Baku hotel, situated on the northern corner of the site, consists of 318 guest rooms, whilst the western-most tower provides 33,114m2 of grade A flexible office space.
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CASE STUDY | FLAME TOWERS
THE SITE Located on a hill overlooking Baku, with views extending across the Caspian Sea, the three towers sweep dramatically upwards to form AREA OF a striking silhouette OFFICE SPACE on the city’s skyline. The project was originally sketched on a single sheet of paper, evoking the momentary flicker of a flame. At the base, a number of smaller, discreet structures form the retail and leisure pavilions, which mediate between the towers’ scale and their surroundings. The pavilion contains three levels of leisure facilities, including boutique shops, restaurants and a cinema.
33,114 METRES2
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FLAME TOWERS | CASE STUDY
THE CONCEPT Known as the ‘region of eternal fi res’, Azerbaijan’s history of fi re worship and ongoing connection with natural gas provided the inspiration for HOK’s design. Barry Hughes, vice president, HOK in London, said: “Our aim from the outset was to create a unique focal
point on Baku’s skyline. The flame is such an intrinsic part of region’s identity, but translating this into the design was a real challenge. We were keen to ensure a sense of movement, the idea of momentary flicker, so it was important that the shape of the towers was realistic.”
THE DETAILS Flame Towers was designed and conceived using BIM, enabling the team to refi ne the unusual shape of the buildings. BIM was also critical in enabling the development to be built, giving the KEYS IN THE team the ability to model FAIRMONT HOTEL the construction process before work began on site. This was said to provide a crucial advantage for constructing a large-scale project in a seismic region such as Baku. The original concept model was conceived in Revit Architecture 2008.
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AL KHOBAR OFFICE TOWER | CASE STUDY
AL KHOBAR OFFICE TOWER Architect: Norr Group Consultants Location: Al Khobar, Saudi Arabia CASE STUDY
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CASE STUDY | AL KHOBAR OFFICE TOWER
THE PROJECT Designed by Norr Group Consultants, this 150m high tower in Saudi Arabia features 20 floors and 15,500m 2 of column-free Class A office space suspended between split concrete cores. Norr’s vice president and design director, Yahya Jan, commented: “The client wanted a different type of office tower. It is an open and highly flexible space due to the absence of a central core.” He added: “The core shouldn’t be an obstruction. In the office space there is not a column to be found, even on the perimeter. The frame is the vertical structure and we use this to hang the floors.”
THE SITE Located on a prime ocean-front site in Al Khobar, the east and west facing envelope is faceted to allow inhabitants unobstructed views to the water (east) and to the city (west) while mitigating solar gain. Jan continued: “The building reaches 150m in height - this is the limit according to civil aviation, and the client wanted to maximise the height. There is no other high rise in the area.” 2 Intentionally restrained, the design TOTAL LEASABLE features clean lines, AREA simple massing and minimalist detailing of stone and glass.
15,500 METRES
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AL KHOBAR OFFICE TOWER | CASE STUDY
THE CONCEPT The design is said to be ‘additive’ and consists of a formal assembly of different components. These include a ‘frame’; office floors; an entrance lobby; a parking structure; a health club and leisure garden, and a roof garden. The frame is a stone clad concrete core, containing elevators, stairs, washrooms and MEP, and is the primary gravity load bearing structure. The entrance lobby HEIGHT OF THE is a ceremonial glass OFFICE TOWER cube with landscaping and water elements.
150 METRES
THE DETAILS Energy modelling eQuest software was used to test the efficiency of a ‘split-core’ tower over a typical central core model. The chosen concept offers a 20% annual reduction in solar gain through the exterior envelope and a 9% reduction in annual consumption. In terms the building envelope, the design results in an average 32% reduction in peak load for any given month. Additional energy savings are expected through the use of solar panels on the health club and tower roofs, which will help reach the target of LEED Gold.
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
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ME HOTEL | CASE STUDY
ME HOTEL Architect: Foster + Partners Location: London CASE STUDY
THE PROJECT Now open in the heart of London’s West End, the ME Hotel has been designed by Foster + Partners, from the shell of the building to the bathroom fittings. It combines a new 157-bed hotel with the restored 1904 Marconi House, refurbished to contain 87 apartments. Guests pass through the ground floor lounge, public restaurants and bar, and ascend to a TOTAL NUMBER dedicated hotel lobby OF BEDS on the fi rst floor. The lobby is housed within a nine-storey high pyramidal space, clad entirely in white marble.
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CASE STUDY | ME HOTEL
THE SITE The new hotel building occupies a triangular site and completes the grand sweep of buildings that make up the Aldwych Crescent. Repairing the urban grain, it is clad in Portland stone, corresponding in height and scale to its neighbour, the Marconi House. An elliptical tower on the corner of the hotel deďŹ nes the end-point for the Aldwych Crescent and marks the main entrance at street level, which is sheltered beneath a wide glass fan. The corner tower is topped by a glass cupola, and contains the living space for the penthouse suite.
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ME HOTEL | CASE STUDY
THE CONCEPT Giles Robinson, partner at Foster + Partners, said: “By designing the hotel inside and out, down to the last detail, we were able to maintain a high level of quality and continuity. Inside, the bold black and white interior palette establishes a strong identity.” The experience at the hotel draws on the Asian concept of yin and yang, as guests move from dark to light spaces — the crisp white bedrooms, with clean and minimal lines, are reached by reflective black marble corridors, and sculpted by the angled walls of the central pyramid.
THE DETAILS The glazing of triangular bays in the rooms feature an invisible joint, while ensuring acoustic and thermal insulation. Internally the windows can be screened by two layers of opaque glass sliding panels, rather than curtains, in keeping with the minimal design. Full-height triangular bay windows project to reveal long views of the COMPLETION OF Strand. On the tenth MARCONI HOUSE floor, the hotel’s rooftop terraces are an urban oasis offering spectacular views of the Westminster skyline.
1904
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
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CATERING SCHOOL | CASE STUDY
CATERING SCHOOL Architect: Sol 89 Location: Medina Sidonia, Spain CASE STUDY
THE PROJECT The unanimous winner of the 11th Tile of Spain awards in Architecture and Interior Design, this project involves the conversion of a 19th century Spanish slaughterhouse into a professional cooking school. Designed by Maria Gonzalez Garcia and Juanjo Lopez de la Cruz, both of architectural practice Sol 89, it was described by the jury as a project that was POPULATION “acutely aware of its OF MEDINA surroundings, [which] SIDONIA has been resolved with very modest means, yet very delicately and very successfully”.
11,900
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CASE STUDY | CATERING SCHOOL
THE SITE The scheme is located in Medina Sidonia, a historic town located on the hills in Cadiz, Spain, most notable for its whitewashed walls and ceramic roofs. The small slaughterhouse is arranged around a courtyard and a high white wall. A new ceramic roof was added to unify the complex, and harmonise with the traditional architecture of the surroundings. The new roof covers the kitchen and classrooms, while the public programme, dining area and bar are situated in the original building around the restored courtyard.
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CATERING SCHOOL | CASE STUDY
THE CONCEPT
11
YEARS OF OPERATION FOR THE TILE OF SPAIN AWARDS
THE DETAILS The courtyards work as ventilation shafts and contain plants used for cooking. The sloping roofs distinguish the different spaces; circulation areas have flat and low roofs while cooking rooms and classrooms benefit from high ceilings with skylights. Ceilings are fi nished with white surfaces that unify the space. Old floors in the original building were replaced with slabs of concrete with wooden formwork that recall traditional building forms. Walls are covered with white and rough lime mortar which give an industrial feel.
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The original building is removed of strict functional requirements while ancillary uses are arranged around it. New uses of the original building are separated through circulation spaces that span the entire perimeter. Contact between the original building and the new occurs through a slit of light. Modern additions to the old building have been removed while elements with historic value, such as the Phoenician columns, have been retained.
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PROJECT UPDATE | THE WORK
THE WORK PROJECT UPDATE
800KG WEIGHT OF EACH GLASS FIN
BAHRAIN NATIONAL THEATRE Architect: AS. ArchitectureStudio Detailed design: Atkins Location: Manama, Bahrain
BASRA CULTURAL CENTRE Architect: Dewan Location: Basra, Iraq
THE ALEPH
50
APARTMENTS IN THE COMPLEX
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Architect: Foster + Partners Location: Buenos Aires, Argentina
Bahrain’s first national theatre contains a 1,001-seat auditorium and a 150-seat flexible auditorium and exhibition area. The expansive glazing involved an innovative curtain wall system fully supported by glass. With overall control of the entire project, Paris-based AS. Architecture Studio appointed Atkins in 2009 to collaborate on detailed architectural design, including the total external envelope, along with site-wide supervision.
Last year Dewan was awarded the contract to design the new Cultural Centre by the Basra Governorate in Iraq, after the recent establishment of Dewan’s Basra branch office. The Basra Cultural Centre will contain fine arts exhibition areas, meeting rooms, conference halls, a heritage museum, cinema halls, theatre, a radio and television broadcasting department, public library, cafeteria, outdoor landscaping and green areas.
Foster + Partners has completed its first project in Latin America with the Faena Aleph Residences in Buenos Aires, Argentina — a nine-storey residential complex on Avenida Juana Manso. It comprises 50 apartments, animated at ground level by a fringe of shops, cafés and restaurants, with a landscaped garden to the rear and an infinity pool at roof level. Apartments are characterised by vaulted ceilings and expressive sunscreens.
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NUMBER OF ROOMS AND SUITES
Architect: Perkins Eastman Location: Abu Dhabi
ABADAN APARTMENT Designers: Farshad Mehdizadeh & Raha Ashrafi Location: Abadan, Iran
QATAR PASSIVHAUS
200 METRES2
Architect: Aecom Location: Qatar
SIZE OF BOTH VILLA PROJECTS
SNIM HOTEL Architect: Draw Link Group Location: Nouakchott, Mauritania
The first hotel project completed on Abu Dhabi’s Saadiyat Island, as well as the first Park Hyatt-branded property in the UAE capital, the Park Hyatt Abu Dhabi Hotel & Villas opened its doors to guests last year. Designed by Perkins Eastman, the 306-key 45,000m2 resort is oriented towards the sea, with private villas that line a boardwalk and private beach. The energy-efficient design meets LEED Certified standards.
Highly commended in the Residential category at the 2012 MEA Awards, the austere apartment block was designed by local architect Farshad Mehdizadeh and Raha Ashrafi. Mehdizadeh is also supervising the project, still under construction. It uses local architecture elements such as cantilevers, but adds new design techniques. The façade made from local materials suits the dusty conditions.
This ambitious ‘experiment’ for Qatar involves the construction and operation of a super energy-efficient house, which adopts the Germanydeveloped ‘Passivhaus’ concept. It also requires the construction of a conventional villa to serve as a tangible point of comparison, and the basis for a number of targets for the eco-villa. The scheme is a collaboration between Kahramaa, QGBC, BRE, and Aecom.
Sponsored by the National Industrial and Mining Company (SNIM), the five-star hotel project is intended to be an oasis of rest within the heart of Nouakchott. The main building is swathed in greenery and vegetation. Landscaped grounds link a central reception building to living and recreational areas, including a spa and pool. Part of the connecting area was designed as a public gallery.
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THE WORK | PROJECT UPDATE
PARK HYATT ABU DHABI
PROJECT UPDATE | THE WORK
UMEÅ ART MUSEUM
3,500 METRES2 GROSS FLOOR AREA
Architect: Henning Larsen Architects Location: Umeå, Sweden
SIKKAS IN THE SKY Designers: Alexandre Carrasco and Omelmominin Wadidy, University of Nottingham Location: Abu Dhabi
MOP HOUSE
750 METRES2
Designer: AGi Architects Location: Kuwait City
AREA OF PLOT
CIRCLE SNACK BAR Architect: Farshad Mehdizadeh Location: Isfahan, Iran
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Designed by Henning Larsen, this impressive museum is located in the Arts Campus at Umeå University in northern Sweden. It comprises three exhibition halls placed on top of each other. The ground plan of the museum covers 500m2, while the total gross floor area amounts to 3,500m2. The new museum more than doubles the exhibition area. It contains an auditorium, children’s workshops and administration.
This skyscraper is inspired by sikkas, the narrow alleys between buildings in old Middle East cities. Designed by Alexandre Carrasco and Omelmominin Wadidy, Masters in Sustainable Tall Buildings Course, Department of Architecture and Built Environment, University of Nottingham, it has eight stacked communities, with a library and retail facilities at ground level, and a space for prayer at the apex.
This four-level home consists of a main residence with a garden, pool, gym, and private terrace. Originally conceived as a single-family home, MOP House can be split into two separate properties for future use. The project uses dark brown, natural sandstone and white plaster in the building’s façade to differentiate between the different levels. Bamboo is used generously in the interior, built into curved walls.
Designed by Iranian architect Farshad Mehdizadeh, this fast food store occupies 7m2 on an Isfahan street. The project was highly commended in the Public Sector, Institutional and Cultural Project category at the MEA Awards in 2012. Judge Bart Leclercq, WSP, said: “This must be the smallest architectural project ever but the amount of diligence that went into the design is remarkable.”
CULTURE | LIKE WANT NEED
LIKE WANT NEED CULTURE
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FURNISHINGS MINISICULE Fritz Hansen The name ‘minuscule’ represents the informal and understated style, which typifies Scandinavian design. Minuscule has a simple and elegant design that emerged as the result of a series of experimental workshops involving designer Cecilie Manz and Fritz Hansen. The seat shell features hand-stitched upholstery in a light-weight yet durable textile with elegant leather detailing that follows the contours of the shell. The curve of the shell is kept in place by a frame designed in plastic.
CULTURE | LIKE WANT NEED
LIGHTING FLASH DQ LUG Light Factory Ltd. LUG Light Factory Ltd is a wellknown European manufacturer, present on the market for more than 20 years, with roots in Poland. It offers high quality energy efficient lighting systems, both for indoor and outdoor lighting
applications. Since the beginning of 2012, LUG has been present in the United Arab Emirates, in the Ajman Free Zone. Last year, it presented its new brand of decorative lighting called FLASH DQ, available in tubular,
sphere and constellation models. The lighting company has illuminated prestigious projects in many countries, including the Central Bank of Kuwait, Galway University in Ireland and the Philharmonic hall in Rzeszow, Poland.
a complete interior from one of six design themes, or create their own design by mixing and matching a wide range of materials, colours, ďŹ nishes
and lighting. The six themes are Modern Simplicity, Cool Vintage, Industrial Chic, Classic Chic, Nouveau Glamour and New Luxury.
ELEVATOR KONE DESIGN COLLECTION KONE The KONE Design Collection is a versatile set of elevator car interiors created by the manufacturerâ&#x20AC;&#x2122;s inhouse design team. Users can choose
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BREAKING NEWS | ANALYSIS | COMMENT
FOR THE MIDDLE EAST CONSTRUCTION INDUSTRY
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LAST WORD | MARK McCARTHY
Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 444 3000 Fax: 00 971 4 444 3030 Web: www.itp.com Offices in Dubai & London ITP BUSINESS PUBLISHING CEO Walid Akawi Managing Director Neil Davies Managing Director ITP Business Karam Awad Deputy Managing Director Matthew Southwell Group Publishing Director Ian Stokes EDITORIAL Senior Group Editor Stuart Matthews Editor Oliver Ephgrave Tel: +971 4 444 3303 email: oliver.ephgrave@itp.com Reporter Aidan Imanova Tel: +971 4 444 3497 email: aidan.imanova@itp.com ADVERTISING
SCHOOL’S IN THE LAST WORD
Mark McCarthy, education design principal at Perkins Eastman, on the region’s requirements We are seeing an increasing interest in, and dedication to, investing in education in the Middle East and North Africa.
Particularly primary and secondary education, both in terms of facilities and philosophies.
Sales Manager Alexander James Tel: +971 4 444 3393 email: alexander.james@itp.com Business Development Manager, Saudi Arabia Rabih Naderi Tel: +966 1 2068697 email: rabih.naderi@itp.com STUDIO Head of Design Daniel Prescott Principal Creative Simon Cobon PHOTOGRAPHY Chief Photographer Jovana Obradovic Senior Photographers Isidora Bojovic, Efraim Evidor Staff Photographers George Dipin, Juliet Dunne, Murrindie Frew, Verko Ignjatovic, Shruti Jagdeesh, Mosh Lafuente, Ruel Pableo, Rajesh Raghav PRODUCTION & DISTRIBUTION Group Production & Distribution Director Kyle Smith Production Coordinator Nelly Pereira Distribution Executive Nada Al Alami Managing Picture Editor Patrick Littlejohn Image Editor Emmalyn Robles CIRCULATION Head of Database & Circulation Gaurav Gulati MARKETING
Tradition remains extremely important. But it is not incompatible with a 21st century, progressive educational model.
The welcome challenge for international fi rms like ours is to balance respect for tradition and heritage with the energy and spirit of the more progressive educational models taking root in places like Qatar and Saudi Arabia. We are designing for the 21st century student, for a global citizenry.
I think educational institutions in this region are becoming increasingly aware that their infrastructure is inadequate vis a vis their goals — in cultural terms, in terms of being responsive to the regional climate, and in its ability to educate students to meet the challenges of the increasingly global market.
Head of Marketing Daniel Fewtrell Marketing Manager Michelle Meyrick ITP DIGITAL Digital Publishing Director Ahmad Bashour Tel: +971 4 444 3549 email: ahmad.bashour@itp.com Sales Manager, B2B Digital Riad Raad Tel: +971 4 444 3319 email: riad.raad@itp.com ITP GROUP Chairman Andrew Neil Managing Director Robert Serafi n Finance Director Toby Jay Spencer-Davies Board of Directors K M Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafi n Circulation Customer Service Tel: +971 4 444 3000 Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com Printed by United Printing Press Subscribe online at www.itp.com/subscriptions
Higher education has been the focal point already for years, and we are now seeing the same ideas take off for primary and secondary education.
Clients, both American schools abroad and regional Middle East schools, look to us to help them build the “right” buildings that will truly support their educational vision and goals. Our fi rm is working in several countries in the Middle East and North Africa.
Most recently, we have just completed a new middle school and library for Cairo American College, a prestigious international school with a great tradition of serving expat and local communities. A true community of students and their families, it functions as a veritable home away from home.
It’s a demonstration of the future of primary and secondary education in the region.
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Audited by: BPA Worldwide Average Qualified Circulation 5,199 (July – December 2012) Cover image Dubai Foundation for Women and Children, taken by Rajesh Raghav The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.
Published by and © 2013 ITP Business Publishing, a division of the ITP Publishing Group Ltd. Registered in the B.V.I. under Company number 1402846.
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