Middle East Architect | June 2013

An ITP Business Publication

JUNE 2013 / VOLUME 07 / ISSUE 06

NEWS, DATA, ANALYSIS AND S STRATEGIC TR T TRA R AT AT EG EG IIC C INSIGHTS I NS N S IG I G HTS FOR ARCHITECTS IN THE GCC p2// FRONT Designs revealed for Riyadh’s new metro stations

p4// PEOPLE Rem Koolhas and Bjarke Ingels compete in Miami

INTERVIEW

Tareq AbuSukheila shares his vision for Gensler in the Middle East /p24

ANALYSIS WHO SHOULD WIN THE $1 MILLION AGA KHAN AWARD? CASE STUDY FOSTER + PARTNER’S LENBACHHAUS MUSEUM IN GERMANY

TWISTING TO INFINITY A SNEAK PEEK INSIDE DUBAI’S NEWEST ARCHITECTURAL MARVEL

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JUNE | CONTENTS

JUNE 2013 VOLUME 7 ISSUE 06 2

FRONT

Top stories in the world of architecture, such as Riyadh’s new metro stations

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PROJECTS A round up of the latest project news from MENA and the rest of the world

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PEOPLE Key regional appointments, famous architect news and top quotes

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AWARDS

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COMMENT George Bou Mitri on how lighting can create sustainable spaces

MEA profi les the 20 nominees for the Aga Khan Award for Architecture

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INTERVIEW

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SITE VISIT

A sneak peek inside the almost complete Infi nity Tower

Tareq Abu-Sukheila shares his vision for Gensler in the Middle East

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CASE STUDIES

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THE WORK

A detailed reference section covering all the best projects in the world

Zaha Hadid’s metro station design, the Lenbachhaus musuem and a research facility

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CULTURE

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THE LAST WORD

A snapshot of funky furniture, lighting and other accessories in the market

Jason Lewis, Limah Design Consultancy, on signage, wayfi nding and architecture.

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Nominees for the Aga Khan Award for Architecture (Page 14)

WINNING DESIGNS FOR RIYADH METRO REVEALED Gerber Architekten, Snohetta and Zaha Hadid Architects selected to design main metro stations

85 TOTAL NUMBER OF METRO STATIONS ON THE NETWORK

TOP STORY The Arriyadh Development Authority (ADA) has selected the winning designs for Riyadh Metro’s three main stations.

Gerber Architekten from Germany will design Riyadh Metro’s main station at the intersection of Metro Lines 1 and 2. The station will be located between Olaya Street and King Fahad Road, close to the Kingdom Tower and King Abdullah Road.

The main Downtown station at the intersection of Al Madinah Al

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Munnawarah Street and King Faisal Street, in the Al Doho quarter, will be designed by Snohetta from Norway.

The station will serve as a transfer point between Metro Lines 1 and 3.

The third main station at King Abdullah Financial District (KAFD) will be designed by Zaha Hadid from the United Kingdom. The station is situated at the eastern edge of the district, close to the Northern Ring Road and just west of King Fahad Road.

The Riyadh Public Transportation network is the world’s largest urban

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Zaha Hadid’s design for the KAFD metro station.

transport project in development.

It includes six underground, elevated and at-grade metro lines, three Bus Rapid Transit lines, a circular city-centre bus route and community bus services. In total, Riyadh Metro will have 85 stations, plus over 500 stops on the bus network.

“The selection of station designs is an exciting milestone for Riyadh Metro. These iconic landmarks will transform the city streetscape,” said Khalid Hazzani, Director at the Arriyadh Development Authority.

JUNE | FRONT

1,053FT

$77.7M

Height of completed Infinity Tower

Renovation costs of Lenbachhaus Museum

(Page 32)

(Page 44)

Works starts on Louvre Abu Dhabi’s dome

Kudos to run design competition three per cent of the selling price on each product sold by Kudos.

For more information on the Kudos and Hotelier Middle East Design Competition, email: Daniel.fewtrell@itp.com

• Burj Khalifa architect wins 400m Mumbai tower • Dubai to grow world’s largest vertical garden • Italian architect reveals design for solar powered mosque • In Pictures: OMA and BIG’s design for Miami Beach Convention Centre • The Need for Speed

WEIRD PROJECT OF THE MONTH Spanish architect Erik Morvan has designed a 300 metre space hotel, complete with a zero-gravity spa and vertical wind tunnel – on an artificial island off the coast of Barcelona.

DATASTREAM TOP 5 TALLEST RESIDENTIAL TOWERS IN THE WORLD

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Q1 TOWER Gold Coast 1058 FT

Day bed for pool and beach lounging

THE TORCH Dubai 1105 FT

Data: CTBUH/The Skyscraper Center

ELITE RESIDENCE Dubai 1248 FT

Kudos Global has launched a competition to design a day bed for the luxury hotel industry, with the winner to be decided by 600 top hoteliers on October 30 in Dubai.

In partnership with Hotelier Middle East, Kudos will invite interior designers and hoteliers to submit designs for a day bed for pool, beach, relaxing and lounging, over the next two months.

Each of the three finalists will have their design produced and one set presented to them to keep. The day bed will be included in the exclusive “Kudos Designer Collection”, with the winner receiving royalties of

home of Middle East Architect

23 MARINA Dubai 1289 FT

Work starts on Lourve Abu Dhabi

Set for completion in 2015, the Jean Nouvel-designed museum will be the first of the three flagship projects on Saadiyat, followed by the Guggenheim and the Sheikh Zayed National Museum.

The dome is expected to weigh more than 7,000 tonnes – almost the weight of the Eiffel Tower.

The dome will rest nine metres high at the entrance of the museum and will reach up to 30m on the inside. It is designed to evoke the interlaced palm trees traditionally used as roofing material in the region, allowing the sun to shine through like “a rain of light.”

This month’s top stories from the online

PRINCESS TOWER Dubai 1356 FT

The Tourism Development & Investment Company (TDIC) announced the first major construction milestone on Louvre Abu Dhabi – a concrete pour for one of the four piers which hold the 180m diameter dome.

DESIGNMENA.COM

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PEOPLE

Bjarke Ingels and Rem Koolhaas compete for Miami project High profile architects BIG (Bjarke Ingels) and OMA (Rem Koolhaas) are in a close battle to win the redevelopment competition for the design of the Miami Beach Convention Centre.

The current Miami Beach Convention Centre occupies a 52-acre site at the city, adjacent to its city hall as well as to other cultural attractions such as the Jackie Gleason Theater.

BIG produced its proposal in a team called Portman CMC, which includes property developers Portman Holdings and CMC Group, architects John Portman & Associates, West8 and Fentress Architects,

60 SECOND INTERVIEW YAHYA JAN, VICE PRESIDENT AND DESIGN DIRECTOR, NORR GROUP CONSULTANTS INTERNATIONAL LTD.

What are some of NORR’s project milestones these past 75 years?

Rem Koolhaas, partner and founder, OMA

Bjarke Ingels, founding partner, BIG

“The most unsustainable building is an empty building, no matter what credentials it has.”

CHRIS WAN, Manager, City Design, Masdar City

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and circus entertainers Cirque du Soleil, who would provide an event space on the site at the convention centre.

BIG’s proposal is centred around the creation of a public square, with paths, plazas, gardens and parks connecting the convention centre with the surrounding buildings.

OMA is working alongside property developers Tishman and UIA, architects TVSdesign and landscape architects MMVA and Raymond Jungles, who together form a team called South Beach ACE. The team’s vision includes building an 800-room hotel on top of the existing convention centre, which is the location for the annual Art Basel - Miami Beach and Design Miami trade fairs.

I don’t just bring SOM’s services here, I also bring back the culture of different places.

I consider myself to be an architectural diplomat for the United States.”

GEORGE EFSTHATHIOU, Consulting Partner, Skidmore, Owings & Merrill LLP (SOM)

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In Dubai, our significant projects includes Jumeirah Emirates Towers and Al Fattan Marine Towers. We have also designed the Avenues retail mall in Kuwait and are currently working on Jenan City, a development in Saudi.

What kind of work do you hope to see NORR doing more of in the coming years?

In the coming years, I imagine that our projects will get larger and functionally even more complex. We will continue to embrace technology and will, I am confident, continue to push the boundaries of integrated design to combine the best of architecture, interiors, structural, and environmental thinking.

“I believe the next wave of development in the Middle East will be focused on projects that cultivate heritage and preserve tradition.”

SHAWN BASLER, Principal, Perkins Eastman

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MENA PROJECT SNAPSHOT 1 ABU DHABI

2 DUBAI

3 ABU DHABI

Rosewood hotel opens in Abu Dhabi

Landmark Group plans 10 new hotels in Gulf

Luxury hotel and resort chain Rosewood, opened its Abu Dhabi branch on the waterfront of Sowwah Square in the heart of Al Maryah Island.

From glamorous lounges to lavish detailing, the new hotel provides the region’s locale a fusion of contemporary design with opulent living standards. The five-star, 34-storey hotel has 189 guest rooms, 58 serviced residences and four extravagant penthouses.

Dubai retail giant Landmark Group will open more than 10 new hotels under its mid-market Citymax brand over the next four to five years. Landmark, owned by billionaire Mickey Jagtiani, currently operates a trio of three-star properties in Dubai and Sharjah. The new hotels will be located across the UAE and in other GCC countries including Saudi Arabia, Bahrain and Qatar.

GHESA wins water feature contract at Yas Marina

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GHESA, a specialist water feature company, has been awarded the design and build contract for a new water feature at Yas Marina in Abu Dhabi. The water feature will be located on the 230m Yas Marina Promenade and will also be visible from the terraces of the venue’s food and beverage outlets. The project is expected to be completed in Q4 2013.

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4 OMAN

5 ABU DHABI

6 DUBAI

Work on new phase of The Wave to start in June

Abu Dhabi begins $107m of Khalifa City A upgrades

Deira City Centre to get AED 22m redevelopment

The Wave in Muscat is set to see work on a new phase of the development start in June. Marsa One will offer Muscat’s first waterfront apartments, it is claimed, with 90% of the units having already been sold since its launch last October.

The Wave began 2013 by commencing the construction of its Siraj and Reehan Gardens phases, which comprises a total of 143 apartments and villas.

Abu Dhabi’s Municipality has begun an AED 396m programme of infrastructure improvement works at Khalifa City A. The Municipality has said that it is “moving forward with the construction of infrastructure projects at Khalifa City A at all levels”, including upgrades to public parks, drainage networks, pumping stations and street lighting works.

Deira City Centre has commenced an AED 22m redevelopment aimed at enhancing visitor experience.

This will see the introduction of new dining options and improved accessibility within some of the malls most popular areas. Work will be carried out on the mall’s Centre Court, metro access area and food court. The refurbishment, which will be carried out in stages, is expected to be completed by August.

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GLOBAL PROJECT SNAPSHOT 1 USA

2 Germany

3 INDIA

Apple HQ design changes to save $1bn

Striking Hamburg metro design unveiled by gmp

ASGG to design Mumbai’s tallest tower

In a bid to curb the ballooning costs of Apple’s 2.8 million square foot campus building, designers Foster + Partners with Arup, OLIN, Kier & Wright and Alta, have introduced several changes that could reduce costs by $1 billion from the current $5 billion budget. Changes include an alteration in the building’s façade from Apple’s classic white to black and enhanced bike lanes to improve accessibility.

Architect von Gerkan, Marg and Partners (gmp) won first prize in the competition for the design of the Elbbrücken station in Hamburg‘s Hafencity, Germany. The station will be the end of the line for the recently opened U4 metro and is located by the River Elbe.

In response to historic bridges, a striking steel structure consisting of curved steel girders supports the new station.

Like a giant wing standing on its end, the planned 400-meterhigh, 116-story Imperial Tower in Mumbai will feature a slender, rounded form, optimized to withstand the area’s strong wind currents. The scheme by Adrian Smith + Gordon Gill Architecture features dozens of sky gardens and includes 132 condo units that measure up to 1,115 square meters in size.

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JUNE | FRONT

THE BIG PICTURE

TWO IN ONE Captured by photographer Shruti Jagdeesh, this sunset shot stylistic merges the two towers of the Abu Dhabi Investment Council building while juxtaposing them amidst the surrounding palm trees. Both towers are covered from top to bottom with a ‘mashrabiya’ screen, which opens and closes in response to the position of the sun.

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AWARD | AGA KHAN

Aga Khan Award shortlist AWARDS I AGA KHAN

MEA asks five influential architects in the Middle East to share their thoughts on which project deserves to win the $1 million prize.

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rom innovative mud and bamboo schools to state of the art “green” high-rises, 20 deserving nominees have been selected to be in the running for the Aga Khan Award for Architecture. The Award comes with a US$1 million prize. Since the Award was launched 36 years ago, over 100

projects have received the prize and more than 7,500 building projects have been documented for exhibiting architectural excellence and improving the overall quality of life in their regions. The Award looks to bring a new awareness to the field, educating clients to ensure that more appropriate and indeed ‘better’ buildings are designed in the future.

MARIA GRAZIA CUTULI PRIMARY SCHOOL Location: Herat, Afghanistan Architects: 2A+P/A, IaN+, Mario Cutuli (Italy) Site Area: 2,000m2 Materials Used: Reinforced concrete with brick cladding Built in honour of Italian journalist Maria Grazia Cutuli, murdered in Afghanistan in 2001, this school represents an alternative approach to emergency school design for war-torn areas. Like a small village, the complex is intended to resemble an unplanned juxtaposing of elements enclosed by a boundary wall.

It accommodates eight classrooms, various staff accommodation, a double-height library and a garden which acts as a ‘green classroom’. The walls’ range of blue tones reflects the ‘lapis lazuli’ pigment used on local pottery, while window frames are in contrasting red.

PRESERVATION OF SACRED AND COLLECTIVE OASIS SITES Location: Guelmim Region, Morocco Architects: Salima Naji (Morocco) Site Area: 30,000m2 This ambitious undertaking involves four sites that range in scale from communal granaries to partially abandoned fortified towns. Naji has carried out the work with skilled masons and unskilled workmen, whom she has trained in traditional building techniques and who go on to apply their skills at other sites.

Architecture and public spaces have been conserved not only for their historic value, but as locally rooted, sustainable models for contemporary building.

Her work provides an alternative model for conservation in Morocco; one that insists on maintaining the link between local communities and their historic environments.

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AWARD | AGA KHAN

PRESERVATION OF THE MBARU NIANG Location: Wae Rebo Village, Flores Island, Indonesia Architects: Rumah Asuh/Yori Antar (Indonesia) Site Area: 6,500m2 Materials Used: Worok wood and bamboo A group of young Indonesian architects in the habit of touring a part of Indonesia each year arrived to fi nd four of the last surviving examples of these houses, two of which were in need of renovation.

The architects initiated and facilitated a community-led revival of traditional techniques enabling all the original houses to be rebuilt.

In this, a role was opened up to include university students who both participated in and documented this architectural preservation and cultural conservation project , and continue to do so annually.

REHABILITATION OF NAGAUR FORT Location: Nagaur, Rajasthan, India Architects: Minakshi Jain (India) Site Area: 145,686m2 At the heart of the ancient city of Nagaur, one of the fi rst Muslim strongholds in northern India is the fort of Ahhichatragarh, built in the early 12th century and repeatedly altered over subsequent centuries.

The fi nding and restoration of the intricate water system was a highlight; 90 fountains are now running in the gardens and buildings, where none were functional at the project’s outset. The fort’s buildings and spaces, both external and internal, serve as a venue, stage and home to the Sufi Music Festival.

MUSEUM OF HANDCRAFT PAPER Location: Gaoligong Mountain, China Architects: Trace Architecture Office (China) Site Area: 361m2 Materials Used: Local timber, bamboo, handcrafted paper, low energy-consuming and decomposable natural materials The Museum is located close to a village at the foot of Gaoligong Mountain, in the province of Yunnan, an area of significant Muslim presence. It provides exhibition space for ancient paper craft and artifacts produced locally. Six galleries clustered around a courtyard form a micro-village. The exhibition is extended through displays of paper-craft in the village.

Texture is articulated through local materials, formal expression and visual connection with the landscape. The spatial experience of the village is consolidated within the museum. Interior spaces alternate between galleries and views beyond. Accommodation on upper levels includes offices, tea rooms and guest rooms.

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AWARD | AGA KHAN

APARTMENT NO.1 Location: Mahallat, Iran Architects: Ramin Mehdizadeh, AbCT - Architecture by Collective Terrain (Iran) Site Area: 420m2 Materials Used: Leftover stone The majority of Mahallat’s economy is engaged in the business of cutting and treating stone, over half of which is discarded due to inefficiencies in stone-cutting technology. This project turns the inefficiency to economic and environmental advantage by reusing leftover stones for both exterior and some interior walls, and has led to the increasing adoption of stone recycling by local builders.

The five-storey structure comprises two ground-level retail spaces and eight three-bedroom apartments above. Its austere prismatic form is balanced by the warmth of the natural materials.

Yahya Jan, Vice President and Design Director, NORR Group Consultants International Ltd. “The design for this building is both contemporary and specific to its context in the sensitive use of local stone and other materials. The design is successful in its poetic combination of convention with invention.”

Sherif Anis, President, American Institute of Architects (AIA) Middle East “I love the aspects of material “re-use” which is demonstrative of the regions’ resourcefulness and indicative of a seemingly dutiful impulse to not be wasteful. The balance of light, intrinsic in Islamic design is represented here in a contemporary and sensitive way that feels historically contextual yet free form its burden.”

REHABILITATION OF TABRIZ BAZAAR Location: Tabriz, Iran Architects: ICHTO East Azerbaijan Office (Iran) Site Area: 270,000m2 The Tabriz Historic Bazaar Complex was officially protected in 1975 and has been covered by special stewardship measures until 2010, when it was added to the World Heritage List.

Since 2000, numerous complexes within the bazaar have been rehabilitated with the participation of the owners and tenants. Infrastructure has been improved and public facilities have been built.The Tabriz Bazaar is a unique example of urban conservation and development project in which heritage plays a catalystic role in rejuvenating the tangible and intangible memory of the historic city of Tabriz.

THULA FORT RESTORATION Location: Thula, Yemen Architects: Abdullah Al-Hadrami (Yemen) Site Area: 8,754m2 The historic preservation project seeks to protect cultural assets, including rebuilding the walls of burial grounds and walls of agricultural terraces, restoring the Bab al Mayah gate, watch towers, paths and waterways, and repairing the cistern that remains in use to this day.

Thula is well-known for artefacts from the Sabaean period and its prototypical massive stone architecture. Restoration work may provide further insights into the Sabaeans and their civilisation.

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AWARD | AGA KHAN

UMUBANO PRIMARY SCHOOL Location: Kigali, Rwanda Architects: Mass Design Group (USA) Site Area: 900m2 Materials Used: Brick and Bamboo The School’s seven buildings house nine classrooms and a library on a sloping site. Unique settings for education have been created to occur within a mix of interior rooms, exterior teaching areas - some of which are covered by sloping roofs - and terraced play spaces for children.

Curricula have been specifically developed to provide quality education for over 300 vulnerable or orphaned children. Adult evening classes are promoted and serve to improve literacy within the wider community.

MOHAMMED VI FOOTBALL ACADEMY Location: Salé, Morocco Architects: Groupe 3 Architectes (Morocco) Site Area: 2,500,000m2 Materials Used: Gravel, river stones, concrete and timber Providing intensive football training and education to around fifty 13-to-18-year-olds, the Academy is designed to encourage both focus and a sense of community.

It is arranged like a traditional douar (hamlet), with a central ‘village square’ around which stand five buildings respectively accommodating administrative, sports, teaching, lodging and catering functions.

Each has a central landscaped patio for relaxation. The patio walls are each painted a colour that reflects an aspect of Morocco, while the buildings’ massive exteriors are sober white.

ISLAMIC CEMETERY Location: Altach, Austria Architects: Bernado Bader Architects (Austria) Site Area: 8,415m2 Materials Used: Reinforced concrete and oak wood The Cemetery serves Vorarlberg, the industrialised westernmost state of Austria, where over eight percent of the population is Muslim.

It fi nds inspiration in the primordial garden, and is delineated by roseate concrete walls in an alpine setting, and consists of five staggered, rectangular grave-site enclosures, and a structure housing assembly and prayer rooms.

The space includes ablution rooms and assembly rooms in a subdued palette that give onto a courtyard. The prayer room on the far side of the courtyard reprises the lattice-work theme with Kufic calligraphy in metal mesh on the qibla wall.

Jason Burnside,Partner, GAJ “A clever use of natural materials and varying quality of light and shade help to heighten the experience with the geometric screens adding a subtle cultural reference. Beyond the building the projecting walls capture and enclose the surrounding landscape as if growing from the site whilst seamlessly linking the interior and exterior spaces.”

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AWARD | AGA KHAN

REVITALISATION OF BIRZEIT HISTORIC CENTRE Location: Birzeit, Palestine Architects: Riwaq –Centre for Architectural Conservation (Palestine) Site Area: 40,640m2 This five-year project, part of a rehabilitation master plan initiated by Riwaq, has transformed the decaying town of Birzeit, created employment through conservation, and revived vanishing traditional crafts in the process.

Both historic buildings and public spaces have been rehabilitated into community activity hubs. Replaced sections of the walls remain distinguishable from the original structures, without harming architectural coherence.

Lost features were replaced where there was clear evidence for their former appearance, such as floor tiles with Palestinian motifs. Where no historical models were available, new elements were made in a bold contemporary spirit.

THE MET TOWER Location: Bangkok, Thailand Architects: WOHA Architects (Singapore) Site Area: 11,361m2 Materials Used: Thai elements – ceramic tiles, textiles and timber panelling Rather than adopting high-rise models from temperate countries, this 66-storey central Bangkok development adapts aspects of low-rise tropical housing to spaces in the sky. Naturally crossventilated, the apartments require no air conditioning.

Open-air terraces with barbecues, libraries, spas and other facilities link the three towers every five storeys and act as structural bracing. The main columns extend on the exterior of the building, creating protected indoor-outdoor spaces for balconies and terraces, and are lit at night, transforming the building into an elegant, vertical screen.

MAPUNGUBWE INTERPRETATION CENTRE Location: Limpopo, South Africa Architects: Peter Rich Architects (South Africa) Site Area: 2,750m2 Materials Used: Gypsum mortar and earth tiles The plan for the Centre takes inspiration from a motif etched on stones uncovered on the site at Mapungubwe Hill, a World Heritage site located at the confluence of the Limpopo and Shashe Rivers.

Exhibition and learning spaces take the form of ten free-form vaults, the largest of which spans 14.5 metres, and a number of regular barrel vaults and domes which are arranged in a triangular layout linked together by ramped walkways.

Bart Leclercq, Head of Structures Design, WSP Middle East “I love the way this project blends on in its environment. The use of the locally available materials and the complex domes and barrel vaults are remarkably ingenious and beautiful. They blend in so nicely with their environment.”

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AWARD | AGA KHAN

POST-TSUNAMI HOUSING Location: Kirinda, Sri Lanka Architects: Shigeru Ban Architects (Japan) Site Area: 3,195m2 Materials Used: Local rubber-tree wood and compressed earth blocks This project provides 100 houses in a Muslim fi shing village, in the region of Tissamaharama, on the southeast coast of Sri Lanka, following the destruction caused by the 2004 tsunami. The architect’s aim was to adapt the houses to their climate, to use local labour and materials to bring profit to the region, and to respond to the villagers’ own requirements through direct consultation.

For example, kitchens and bathrooms are included within each house, as requested by the villagers, but a central covered area separates them from the living accommodation, as stipulated by the government. The covered area also provides an entertainment space from which women can retreat to maintain privacy.

SALAM CENTRE FOR CARDIAC SURGERY Location: Khartoum, Sudan Architects: Studio Tamassociati (Italy) Site Area: 14,000m2 Materials Used: Abandoned containers The Salam Centre for Cardiac Surgery consists of a hospital with 63 beds and 300 local staff, with a separate Medical Staff Accommodation Compound that sleeps 150 people.

Seeing the abandoned containers that had been used to transport construction materials for the Salam Centre for Cardiac Surgery, the architects were inspired to reuse them to house the centre’s staff.

Ninety 20-foot containers form the accommodation block, each unit consisting of 1.5 containers, with a bathroom and small veranda facing the garden. Seven 40-foot containers are occupied by a cafeteria and other services.

LYCÉE FRANÇAIS CHARLES DE GAULLE Location: Damascus, Syria Architects: Ateliers Lion Associés, Dagher Hanna & Partners (France) Site Area: 10,000m2 Materials Used: Concrete blocks and PVC pipes In designing school facilities in this desert climate, the architects opted for natural ventilation, a decision with crucial implications for the morphology of their solutions.

The buildings are typically two-storey patio structures each giving onto a small, lush, and sheltered garden. The garden is the building block, creating the microclimate, feeding cool air into the ventilation system through PVC pipes, made to circulate by means of the updraft created by solar chimneys.

The walls are double-block for its thermal properties: solid concrete on the inside and concrete breeze-blocks on the outside, separated by an air pocket. The classrooms are arranged in rows on both sides of major axes, in a pattern of alternating buildings and gardens.

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AWARD | AGA KHAN

KANTANA FILM AND ANIMATION INSTITUTE Location: Nakhon Prathom, Thailand Architects: Bangkok Project Studio / Boonserm Premthada (Thailand) Site Area: 16,000m2 Materials Used: Brick walls and steel structures Massive eight-metre-high handmade brick walls with undulating geometric profi les characterise this undergraduate college.

They are supported by a steel inner structure, the cavity between inner and outer skin affording protection against heat transfer.

The complex’s five different areas - administration office, lecture room, workshop, library and canteen - are all connected by an ‘inserted forest’ in the form of a greystone and concrete pathway punctuated by trees, running centrally along a solid east-west and a broken north-south axis.

Pedram Rad, M. Arch I Director, U+A Architects “The building has a very humble architecture which simply merges with the surrounding nature.

There is a strong articulation between the architecture and functionality and it seems like the building is a background music for a movie which perfectly fits with the function.”

HASSAN II BRIDGE Location: Rabat, Morocco Architects: Marc Mimran Architecture (France) Site Size: Bridge length: 330 m - Viaduct length: 600 m Nautical Base Bridge length: 100m Materials Used: Concrete supports The Hassan II Bridge links Rabat and Salé to form an urban hub and to relieve both cities’ historic sites and populations of atmospheric and sound pollution.

The design respects the overwhelmingly horizontal nature of the built and natural environments to allow Rabat’s 12th-century Hassan Tower to retain its vertical dominance of the skyline.

Besides providing transport connections, the structure also offers an urban roof over the alluvial plain of the Bouregreg River, creating a protected public space for markets and leisure activities.

RECONSTRUCTION OF NAHR EL-BARED REFUGEE CAMP Location: Tripoli, Lebanon Architects: United Nations Relief & Works Agency (UNRWA), Nahr el-Bared Reconstruction Commission for Civil Action and Studies (NBRC) Site Area: 190,000m2 The project involved reconstructing a camp that housed 27,000 refugees before 95% of it was destroyed during the 2007 war. Primary considerations for the project was the limited space needed to recreate the physical and social fabrics of the community.

In a layout where roads provided light and ventilation, the goal was to increase non-built areas from 11% to 35%. It was achieved by giving each building an independent structural system allowing for vertical expansion up to four floors on a reduced footprint.

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COMMENT | EDITOR’S LETTER

AWARDS AND RECOGNITION EDITOR’S LETTER

How valuable are awards like the Aga Khan Award for Architecture?

GOT A COMMENT? If you have any comments to make on this month’s issue, please e-mail zeinab.saiwalla @itp.com

F

or this month’s main feature, we decided to profi le the 20 nominees (pg 14) shortlisted for the 2013 Aga Khan Award for Architecture (AKAA) , as there is much to be learnt from the mission and objectives of the awards.

At a time where most royalty emerge as champions of postmodern architecture, Aga Khan has carved an entire enterprise in the pursuit of essentially noble and progressive goals.

The AKAA shifts emphasis away from aesthetics, whilst also bringing attention to the work of lesser-known architects, who

may not have a signature style, but whose work emphasises the social and cultural impact of their designs.

By extending the mission of architecture beyond individual buildings to whole settlements (Post-Tsunami Housing, pg 19), educational institutions (Mohammed VI Football Academy, pg 17), and infrastructure networks (Hasan II Bridge, pg 20), and by emphasizing process over product, the AKAA prompts us to rethink what we may legitimately consider to be architecture under conditions of extreme poverty and demographic pressure.

In attempting to become a voice

The awards seek to honour, recognize and celebrate best practices, architects, engineers, principals and young stars in the region.”

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for issues revolving around the built environment of Muslim societies, it has also generated a discourse that integrates the rich architectural heritage of the Islamic world with the technological advances of modernity.

In doing so, I believe the AKAA espouses in a pluralistic umbrella, an architectural discourse that is expected to mediate between continuity and change, tradition and modernity, regional and international while adding significant value to the appreciation of architecture.

More importantly, they bear testimony to the aspiration to bring together architects, planners, scholars, and educators from every part of the world, similar to Middle East Architect’s Awards which seeks to honour, recognize and celebrate best practices, architects, engineers, principals and young stars in the region.

If you think you have a project or know an individual that deserves this recognition, I’d like to invite you to submit a nomination entry online (www.designmena.com) so that we can honour your achievements at MEA’s award night on November 5 to be held at Jumeirah Emirates Tower.

PS: I’ve recently joined the MEA

team as Editor, and would love to hear more about your new and exciting projects. Drop me a line!

COMMENT | LIGHTING

SUSTAINABLE BUILDINGS OPINION

How can lighting create sustainable spaces?

George Bou Mitri, General Manager for GE Lighting, Middle East, Africa & Turkey

C

reating sustainable architecture spaces are important in driving our collective action towards reducing energy consumption. They also contribute to setting a benchmark in architecture best practice and drive professional and social expecta-

tions regarding energy use, in turn, making sustainability a norm rather than the exception.

Lighting plays a significant part in building the sustainability credentials of common spaces. Today there are several standard offerings in the lighting sector to manage energy efficiency

Dubai Marina skyline at night

While the value of energy efficiency is not always reflected in the capital expenditure, architects and endusers are increasingly conscious of the tangible benefits seen over the long run.”

such as dimming and motion sensors.

Advanced glazing technologies also enable linkages with natural daylight to ensure a consistent light level and a balance between artificial and natural daylight. New developments have Environment or Sustainability Managers, who are aware of energy efficiency measures, and work towards attaining performance targets and promoting best practice.

A good example, regionally, of efficient application of sustainable architecture is Burj Khalifa in Dubai, the world’s tallest building, which is intelligently glazed and has a sustainability focused building management system.

While the value of energy efficiency is not always reflected in the capital expenditure, architects and end-users are increasingly conscious of the tangible benefits seen over the long run.

This is reflected in the lighting sector, where the focus now is on aesthetic yet efficient lighting.

Irrespective of the size or scale of buildings, sustainability features can be integrated, especially in the design stage. Today, there is also greater emphasis on retrofitting older buildings with energy efficient solutions – an opportunity where customers can evaluate the value addition brought by sustainable lighting.

Across the world, architects and designers are increasingly focused on sustainable projects. They realize the value that lighting brings into the equation, and we can see tangible action in promoting sustainable lighting solutions in the region.

www.constructionweekonline.com | 06.13 | MIDDLE EAST ARCHITECT

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INTERVIEW | TAREQ ABU-SUKHEILA

INFLUENCES AND ASPIRATIONS THE INTERVIEW

MEA talks to Gensler’s principal and managing director, Tareq Abu-Sukheila, about what influences him and his vision for Gensler in the Middle East

W

hile most architectural fi rms prefer to be based in Dubai, at the heart of the United Arab Emirate’s skyscraper capital, Tareq Abu-Sukheila choose Abu Dhabi to be the base for Gensler’s work in the Middle East. “To me, it makes more sense to be in the capital city of the UAE. We want to grow in an organic way and the government of Abu Dhabi seems encouraging of that,” says Abu-Sukheila, principal and managing director of Gensler Middle East.

Three months ago, Gensler moved into a classy, custom-designed 600m2 sprawling office in Etihad Towers.

Situated right next to the grand Emirates Palace, the office offers spectacular views of the city from the 32nd floor. The design fi rm was previ-

ously based in Buteen Towers, which was a converted duplex office space in downtown Abu Dhabi. “Moving from Buteen Towers was a huge transition, but it was for the better.

Gensler is big on open, collaborative workspaces and it was something we could not really do in our old office,” explains Abu-Sukheila.

Gensler’s new location has more than enough space to accommodate up to 60 designers. The design practice currently employs around 40 people in Abu Dhabi and is already expanding the number of professionals in the office. It plans to double its headcount over the next two to three years due to the increased volume of projects currently in the pipeline.

“We are also planning to incorporate the remaining area on the 32nd floor by year end, so that the whole floor will belong to us.” Gensler’s

new office, which currently occupies two-thirds of the floor, was designed in-house and features an open plan layout of workstations to allow for collaboration and interaction between project teams.

Throughout the office, the monochrome palette offers a neutral background while the company’s signature red brightens up the space, a visual characteristic of most Gensler offices around the world, highligts Abu-Sukheila.

“Our goal was to create a highly customised environment to increase productivity, staff comfort and to enhance the creative process involved in our services.”

“The floor to ceiling windows allow for plenty of natural light creates a sense of well being for everyone working in the office environment,” Abu Sukheila adds.

I am most comfortable if I can integrate the surrounding nature with the form of the building to create a sustainable design.”

Tareq Abu-Sukheila

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TAREQ ABU-SUKHEILA | INTERVIEW

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INTERVIEW | TAREQ ABU-SUKHEILA

600M2

AREA OF GENSLER’S NEW OFFICE SPACE

The reception area at Gensler’s new office location

In addition, the office is set up into studios so that staff working on a particular project sit together. There are also several corners dedicated for group meetings. These break out areas offer staff a space to gather and share ideas fluidly. For Abu-Sukheila, it is characteristics like these that make him so fond of Gensler. “When you sit in groups and not in closed offices, there are no barriers. It is like a family, there are no complicated structures.”

He continues: “From the time I joined, I felt a deep connection between my values and that of Gensler’s.

The company is honest, transparent and has a great work ethic. This provides a career foundation that lasts and grows along with your ambitions and talents.”

Abu-Sukheila fi rst joined Gensler in 1990 after graduating with an architectural engineering degree from the University of Colorado, Boulder, USA. He was offered a job at Gensler’s office in Denver where he went on to work for nine years, progressing from junior architect to project leader.

Apart from the company’s work ethics, Abu-Sukheila also found striking similarity in Gensler’s design philosophy, which revolves around designing environmentally sustainable buildings, and his own architectural principles.

“My design ethos has been greatly influenced by buildings that grow naturally from the surrounding environment,” he explains.

“I am most comfortable if I can integrate the surrounding nature with the form of the building to create a sustainable design.”

Seeing Saadiyat Island develop from a vision to reality really encouraged us to have a full serviced office in Abu Dhabi.”

Tareq Abu-Sukheila

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INTERVIEW | TAREQ ABU-SUKHEILA

Gensler’s master plan design for Saadiyat Island (above).

He went on to work with several other architectural companies from 1999 to 2008 in the Middle East but continued to keep in close contact with his ex-colleagues, especially Chris Johnson, who today is Gensler’s managing principal for Europe, Middle East and Africa.

“Chris was my mentor and we have come a long journey. He always knew my passion about starting an office in the region and he supported me throughout,” Abu-Sukheila adds.

In 2008, Abu-Sukheila rejoined Gensler as a partner and managing director of the Middle East. Gensler’s initial plan was to have their Middle East office located in Kuwait, however, the vision was altered to match the demands of the region.

Seeing Saadiyat Island develop from a vision to reality really encouraged us to have a full serviced office in Abu Dhabi.”

Tareq Abu-Sukheila

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TAREQ ABU-SUKHEILA | INTERVIEW

National Bank of Abu Dhabi (above) and Dubai International Financial Centre (below, left)

“As a result of the success of the Dubai International Financial Centre, which we designed, we got several master planning projects in the UAE, so we opened an office in Dubai to meet the needs of our clients.” But when Abu-Sukheila came

across Abu Dhabi’s 2030 masterplan, he knew that being located in the capital city was essential to ensure Gensler’s growth in the region.

Furthermore, the success of Gensler’s design for Saadiyat Island’s cultural district was an affi rmation

to Abu-Sukheila that the company could play an important part in Abu Dhabi’s growth.

“Seeing Saadiyat Island develop from a vision to reality really encouraged us to have a full serviced office in Abu Dhabi and in June 2009 we officially announced our decision to have Gensler Middle East headquartered here,” Abu Sukheila explains.

Being part of the community and contributing to its holistic growth is a fundamental part of Abu-Sukheila’s working philosophy. “We want to grow in an organic way by building talent, supporting the education system by offering internships and by integrating with the people.”

For him, clinching the design contract for the National Bank of Abu Dhabi (NBAD) earlier this year proved that his vision for Gensler is yielding results. “We hope to convey to the government and the private sector that Gensler is deeply committed to making a difference in the expansion of the urban landscape and built environment of Abu Dhabi. When Gensler won the NBAD project, it was defi nitely a step in that direction,” he proudly affi rms.

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Appareo – we know how to create magic The luminaire is lit – but where is the light source? Appareo is more than lighting, it’s an experience that makes you think. It’s a puzzle, a little piece of everyday magic.

Fagerhult Lighting Group Middle and Far East ŗ M ͊ ϼ ΞΜΕ ΙΘΗΞ ΜΕ ΗΔ ͊ ̪3 >)}J ` ̪ nf

SITE VISIT | INFINITY TOWER

8M/S SPEED OF

ELEVATORS

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SITE VISIT | INFINITY TOWER

TWISTING TO INFINITY As workers scramble to put the finishing touches on Infinity Tower, Zeinab Saiwalla gets a preview of the building before its inauguration

T

he designers dreamt the future with this building, envisioning a structure like one never built before. Seven years and three months later, architectural firm Skidmore, Owings, and Merrill’s (SOM) dream has become a reality.

For developers and owners Cayan Real Estate Investment and Development, the completed tower is a testimony of their firm conviction and dedication to the building.

Despite the numerous challenges, such as the 2007 collapse of the Dubai Marina wall which led to the entire Infinity Tower site being sub-

merged under water, and the 2008 global financial meltdown which inadvertently led to escalating costs, Cayan remained committed to the development of this project.

Construction of the building was left primarily to the team from Khatib & Alami, which had a design contract with SOM and a supervision contract with Cayan.

“It is an ideal relationship because as the designers and engineers for the project it is easy for us to communicate with our headquarters whenever we have issues,” explains Dr Montasser El Raie, senior resident engineer, Khatib & Alami.

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SITE VISIT | INFINITY TOWER

THE SITE The tour of the site began at the lobby, which is snugly cushioned at the north corner of the building, facing the Dubai Marina. Wood panels, cut in the shape of Infinity Tower’s logo, line the walls in the lobby to offer visitors the ‘infinity experience’ right from the entrance.

As a result of the twists and turns that give the tower its signature shape, there are certain pockets of spaces, especially at building corners, which are oddly shaped and sized. “Frankly speaking, this is one of the disadvantages when you have an unusual structure. There will be some areas that might seem redundant but they are actually not totally redundant. They just need some effort and can be used for other purposes,” explains El Raie. It is possibly for this reason that the lobby has a very high ceiling, approximately three storeys in height, to make up for the confined lobby area.

From there, the tour party steps out of the tower to view the massive structure that stands above. Unlike other buildings in the Marina, Infinity Tower seems to have an advantage over its location.

Adjacent buildings are a comfortable 10 metres away, unlike the rest of the area where buildings are closely packed to one another.

“We needed to have this space around us MONTHS because of the structure TIME TAKEN FOR of this building. Part of the building is actually COMPLETION protruding outside of the building’s footprint by about 10m,” explains El Raie.

He continues: “This is one very peculiar thing about the project. It is the only project in Dubai where the client had to pay for the airspace, because of the twist.”

The exterior of the building is clad with aluminum perforated panels to add some texture to the tower. “The panels have been randomly distributed to give some complexity to the elevation.

It is mainly for decorative purposes,” explains Ayman Sami Othman, assistant resident engineer, Khatib & Alami.

87 Kitchens feature appliances from Grohe, Bosch and Siemens.

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SITE VISIT | INFINITY TOWER

From the lobby, we made our way up to the 76th floor – the highest point –to see the crown of the tower.

The elevators that take us to the top, travel at a speed of 8m/s, slightly slower than Burj Khalifa’s speedy 10m/s elevators. A total of seven elevators, supplied by Kone, serve the entire building. Three elevators are dedicated solely for lower floors, another three elevators for the upper floors and one elevator for service use.

The highest residential unit is a penthouse on the 72nd floor. The 73rd and 28th floors are used for mechanical processes while the 76th floor, which is only accessible to select staff, constitutes the roof of the building.

At the 76th floor, the tower measures a total of 1,053 feet, a height specifically calculated so that Infinity

Living room space in a two-bedroom apartment

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SITE VISIT | INFINITY TOWER

"Virtually every fl oor is identical," William Baker, SOM

Tower could be ranked alongside other tall buildings in the world.

The last three levels of the crown columns are connected with cables that have been assembled to hold the perforated aluminium panels.

“People will look at the building and all they will see is perforated panels flying high. Nobody will know how because they will not be able to see the cables,” explains Othman.

In addition, the tower’s crown will be fitted with LED projectors to complement the façade tube lights that will be placed along the entire length of the building’s four corners.

“At night, it will seem like the lights are going all the way up. The concept is to have a continuation of light to eternity,” Othman adds.

BUILDING SPACES MEA visited two differently configured two-bedroom apartments on the sixth and seventh storey, both of which offered spacious living room and kitchen areas.

A combination of teal, grey and purple tiles lines the kitchen counter, offering residents a splash of color to complement the surrounding views of Dubai Marina. All apartments are fitted with appliances from Bosch, Grohe and Siemens and some also come with walk-in closets.

The residential building offers studios, one, two, three and four bedroom apartments, as well as duplexes and penthouses. There are a total of 492 residential units. It has six podium parking levels and amenities such as a swimming pool, outdoor tennis court and retail outlets.

On the sixth floor of the tower sits a landscaped garden bearing the shape of the Infinity Tower logo and a club-

1053FT HEIGHT OF THE BUILDING

house for guests to enjoy gym facilities and to unwind outdoors. This is also the only space in the tower that allows residents to enjoy views other than that offered from their apartments.

At the core of this thousand foot twisting structure is a cylinder made of

one-metre thick concrete. The rest of the building is essentially like wheels about an axle, resulting in a 90-degree helical twist that grants the tower’s luxury residential apartments expansive views of the surrounding environment.

People will look at the building and all they will see is perforated panels flying high. Nobody will know how because they will not be able to see the cables.”

Ayman Sami Othman, Khatib & Alami

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SITE VISIT | INFINITY TOWER

Walkway between the central core and apartment units.

Due to the building’s structural requirements, the central core occupies close to 30% of the building’s floor plan. As a result, the walkway between the cement core and the entrance to apartment units span a width of less than two metres.

Once the apartment doors open, you are greeted by stunning views of either the Dubai Marina, Jumeirah Beach Residences, Jumeirah Lake Towers or Sheikh Zayed Road. The glass windows fill every square metre of the apartment with abundance of light, while the perforated panels cast an artistic shadow on the marble floors, keeping some heat out.

Providing shade from the intense heat was one of the main challenges that SOM had to overcome with Infi nity tower. According to SOM, besides the metal panels which clad the reinforced concrete structure and offer some shade from the heat, the winding shape of the building itself helps shade its interior. The interior columns throughout the floor plan all share the same rota-

tion along the form, resulting in a gradual step or fan of the structural elements, which radiate outward from the cylindrical core.

“Virtually every floor is identical,” says William Baker, structural engineer, SOM. “We try to take something that’s complex and make it simple.

Simple for the exterior guys, simple for the concrete guys, simple for the sales agent. It is the same floor plate because every floor rotates around the central column.”

Although the design idea seemed relatively straightforward, the engineers were faced with unheard of challenges during the building’s construction phase.

“The concept of the building is simple. The flat on the ground floor looks east. The same flat on the top looks south. It is exactly 90 degrees.

But let me tell you, this was not an all an easy project,” El Raie explains.

Due to the fact that the structure is twisted, the bathrooms and kitchens are not on top of one another, as typically found in recti-linear buildings.

“We have to take into consideration

that sometimes, penetration from the bathroom on one floor, will be going into the living room of an apartment on another floor. If the bathrooms were on top of each other, we would have no problem but because the apartments are moving, the flats underneath are not aligned and require additional work,” El Raie elaborates.

As a result, the team had to build mock-ups at every stage along the way to ensure that the building would be constructed without any glitches.

El Raie explains that the various additional processes like surveys, and mock-ups, are what make the construction cost 30% to 35% higher than regular buildings.

“If you want to live in an iconic building, you have to pay a little bit more extra, and there are a lot of people who are willing to pay the price,” El Raie adds.

He continues: “A lot of people just love the way the building looks from the outside and are eager to live here.

Infinity Tower is an icon and people will love to say that they live in the twisting tower.”

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20 205 2 0 8

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SETTING THE BENCHMARK FOR THE MIDDLE EAST ARCHITECTURE SECTOR THE 6TH ANNUAL MIDDLE EAST ARCHITECT AWARDS BRINGS TOGETHER THE ARCHITECTURE, DESIGN AND ENGINEERING COMMUNITIES TO CELEBRATE INDUSTRY EXCELLENCE THROUGHOUT THE MIDDLE EAST.

NOMINATION DEADLINE THURSDAY 5TH SEPTEMBER, 2013 22 2 210 0

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Do not miss your chance to put u forward your work for o our expert panel of judges’ consideration. n. Submit your es orr contact one of our team for more information. m nominations today at www.designmena.com/meaa For nomination enquiries, please contact: PLATINUM SPONSOR

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ALMETRO HAMRASTATION TOWER | CASE STUDY KING ABDULLAH FINANCIAL DISTRICT (KAFD)

KING ABDULLAH FINANCIAL DISTRICT (KAFD) METRO STATION Architects: Zaha Hadid Architects Location: Riyadh, Saudi Arabia CASE STUDY

THE PROJECT This metro station will be located on the edge of the fi nancial district and will serve as a major hub between the city’s main transport networks.

KAFD metro station will be the key interchange on Line 1 and the terminus for Line 4 and Line 6.

The smoothly curved station spreads over six platforms on four public floors and two levels of underground car parks to cater to commuters traveling on various modes of transportation.

Zaha Hadid Architects beat out competition from other shortlisted bidders including Henning Larsen Architects and HOK to win the project.

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CASE STUDY | KING ABDULLAH FINANCIAL DISTRICT (KAFD) METRO STATION

THE SITE The 20,434m2 King Abdullah Financial District (KAFD) metro station will also provide access EXPECTED YEAR OF for passengers to the COMPLETION local monorail through a skybridge to facilitate easier movement.

Connectivity diagrams and traffic across the site have been mapped and structured to clearly delineate the pedestrian routes within the building, optimise internal circulation and avoid congestion.

2017

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KING ABDULLAH FINANCIAL DISTRICT (KAFD) METRO STATION | CASE STUDY

THE CONCEPT The concept draws on the patterns of the desert winds on nearby sand dunes to create rippling motions across the façade. These undulating swathes are echoed inside the station concourse with a three-dimensional lattice defi ned by a sequence of opposing sine-waves. This was inspired by statistics of the station’s daily traffic flows and acts as the spine for the building’s circulation. These sine-waves are extended to the stations’ envelope and strictly affi liated to its internal layout, translating the architectural concept to the exterior.

20,434M2 AREA OF KAFD METRO STATION

THE DETAILS “The project extends beyond the simple station typology to emphasise the building’s importance as a dynamic, multi-functional public space; not only an intermediate place perceived through quick transitions, but also a dramatic public space for the city,” Zaha Hadid said. The KAFD metro station is expected to be completed by 2017.

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Architect: Foster + Partners Location: Munich, Germany CASE STUDY

Images courtesy of Foster + Partners

AL HAMRAMUSUEM TOWER | CASE STUDY LENBACHHAUS

LENBACHHAUS MUSEUM

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Following a $77.7-million renovation, the reopened Lenbachhaus is a mix of dramatic new and homely old.

The museum’s historic buildings have been carefully restored and the exhibition spaces augmented by a new wing,

which provides an ideal environment for viewing art collections. As well as radically improving the buildings’ environmental performance, the remodeling has created a new entrance and social spaces, including a restaurant, terrace, education facilities and a

CASE STUDY | LENBACHHAUS MUSEUM

THE PROJECT

dramatic full-height atrium, where the old is articulated within the new.

Peeling away the unnecessary additions, a 1972 extension has been removed to reveal the wall of the original villa, which has been sympathetically restored in ochre render.

THE SITE The Lenbachhaus belonged to the artist Franz von Lenbach. It was built to evoke the design of an Italian villa complete with green shutters and a courtyard garden. Munich’s city government bought the house from Lenbach’s widow in 1924 AREA OF and opened the museum THE MUSEUM there in 1929. Visitor numbers were anticipated at 10,000 a year but by 2008 the museum was attracting 450,000 visitors and was in need of renovation.

The museum sits on a 4,000 m2 site.

4,000M2

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LENBACHHAUS MUSEUM | CASE STUDY

THE DETAILS Rows of metal pipes made from a copper-aluminium alloy clad each elevation of the extension. The new building comes with special LED lights created by Osram GmbH (OSR) and Munich artist Dietmar Tanterl to replicate daylight and minimise damage to the artworks.

As well as repairing the fabric of the existing buildings, one of the main aims of the project has been to radically improve the museum’s environmental performance. A water-based heating and cooling system within the floors has been installed – using significantly less energy than air based heating. Rainwater is also collected and recycled and lighting has been replaced and upgraded with low-energy systems.

THE CONCEPT The main design principle implemented throughout the project was to maintain the same amount of exhibition area, while creating new circulation and visitor spaces.

Commenting on the RENOVATION COSTS project, Lord Foster said: “Given the way that the different parts of the museum had evolved, there was no such thing as a typical space – every corner is unique and required individual attention and different design decisions.”

$77.7M

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FROM TEAMWORK TO PARTNERSHIP — One step further in personal relationships.

DORMA is the trusted global partner for premium access solutions and services. We take on the perspective of our partners to fulďŹ ll their needs and make them more successful. Represented in over 50 countries worldwide, we are always close to our customers.

Architect: Henning Larsen, COBE, SLA Engineers: Buro Happold, NNE Pharmaplan and Transsolar.

Location: Lund, Sweden CASE STUDY

Photo credit: Henning Larsen Architects

AL HAMRA TOWER | CASE STUDY EUROPEAN SPALLATION

EUROPEAN SPALLATION SOURCE RESEARCH FACILITY

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The ESS research facility will become the world’s fi rst most advanced centre for neutron-based research and will contain state-ofthe-art technologies in carefully designed spaces to complement the facility.

Research at ESS is expected to commence in 2019, while the entire facility will be completed by 2025. It is expected that between 2,000 and 4,000 scientists will use the facilities each year.

The technology can be used for research in everything from medicine to archaeology and sustainable energy sources.

100,000M2 AREA TO BE BUILT

THE SITE The European Spallation Source will provide 100,000 square metres of laboratories, offices, meeting spaces, and a lecture hall along with a 600 metre long proton accelerator and a 180 metre long neutron hall. Compared to other such facilities like the Large Hadron Collider, which is 27 km in circumference, the ESS’s accelerator is considerably smaller, but it is planned to be much more powerful.

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CASE STUDY | EUROPEAN SPALLATION SOURCE

THE PROJECT

EUROPEAN SPALLATION SOURCE | CASE STUDY

THE DETAILS The architecture is inspired by one of the most important elements in the spallation process, the tungsten disc. The disc and the tungsten metal are used as visual metaphors that mark the centre of the research facility: a large, circular roof above the hall that holds the tungsten disc. This will become a point of orientation for the campus area at ESS and it will make ESS stand out in relation to the research facility Max IV and Lund Science Village.

Using new technologies like spallation technology, the ESS will be able to create brighter neutron beams more efficiently.

The facility will also provide living quarters, guest residences and a public visitor centre.

2025 EXPECTED YEAR OF COMPLETION

THE CONCEPT In a statement about the winning proposal, ESS writes: “The proposal shows great skill and sensitivity in creating in-between spaces and a strong urban context. There is strength in the campus concept […]

There is a human scale represented as well as a dramatic scale in the size of the roof structure.”

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PROJECT UPDATE | THE WORK

THE WORK PROJECT UPDATE

12

MILLION PASSENGERS BY 2030

QUEEN ALIA INTERNATIONAL AIRPORT Architect: Foster + Partners Location: Amman, Jordan

GERMAN UNIVERSITY OF TECHNOLOGY Architect: Hoehler + Partner Location: Halban, Oman

123 VICTORIA STREET

18,580 METRES2 AREA OF THE PROJECT

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Architect: Aukett Fitzroy Robinson Location: London, UK

The airport’s design is based on a flexible modular solution, allowing the capacity to increase by 6% per annum, from 3.5 million to 12 million passengers by 2030. The design is inspired by local references, particularly the domed roof which echoes the black flowing fabric of a Bedouin tent, when viewed from the air. The terminal is glazed on all sides to allow views of the aircraft and to aid orientation.

The building was designed to make a substantial visual impact on its immediate surroundings and to become a landmark for Oman.

Completed within 18 months, the main building contains 527 rooms, including offices, lecture halls, laboratories and a research area. It also features a sports hall, canteen, cafeteria, shops, recreational areas and parking spaces, as well as three attached accomodation blocks.

The project involved the transformation of a jaded 1970s office block into a contemporary complex covering 18,580m2 . The window glazing was replaced with new high performance units to deliver a brighter facade and to provide improved thermal and acoustic insulation. The roof design draws inspiration from the linearity of the building and uses timber decks, linear planters and pebbled terraces as part of a playful redesign of the many elevated terraces.

33,114

AREA OF OFFICE SPACE (M2)

Architect: HOK Location: Baku, Azerbaijan

AL KHOBAR OFFICE TOWER Architect: Norr Group Consultants Location: Al Khobar, Saudi Arabia

CATERING SCHOOL

11,900

POPULATION OF MEDINA SIDONIA

Architect: Sol 89 Location: Medina Sidonia, Spain

BAHRAIN NATIONAL THEATRE Architect: AS. ArchitectureStudio Detailed design: Atkins Location: Manama, Bahrain

The construction of Baku’s striking complex of three mixed-use high rises, the Flame Towers, is now complete with interior fit out underway.

A residential tower sits to the south, with 130 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 tower provides 33,114m2 of Class A office space.

Designed by Norr, this 150m high tower in KSA responds to the architects belief that modern office buildings should be designed for flexibility. It features 20 floors of column-free Class A office space suspended between split concrete cores. In addition to the 15,500m2 of leasable space, amenities include a health club and leisure deck and a roof garden located within the frame at the top of the tower.

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, from Sol 89, it was described by the jury as “acutely aware of its surroundings... resolved with very modest means, yet very delicately and very successfully”.

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.

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THE WORK | PROJECT UPDATE

FLAME TOWERS

CULTURE | LIKE WANT NEED

LIKE WANT NEED CULTURE

BATHROOM KATRELL Laufen The Kartell by Laufen bathroom is the result of integrated architecture; an interconnected ecosystem where washbasins, sanitary-ware, faucets, units, shower bases, bathtubs, lights and accessories coexist with maximum exibility, to meet a variety of taste requirements. Here, the glassy transparencies of latest-generation polycarbonate combine with the amber plastic and the round softness of the washbasin to create a new dynamic in bathroom design.

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LIKE WANT NEED | CULTURE

FURNISHINGS RO Jamie Hayon Spanish designer Jamie Hayon has worked together with Republic of Fritz Hansen to create the east chair, Ro, that was launched at this year’s Salone del Mobile in Milan. ‘Ro’ means tranquility in Danish. The name was chosen because it captures the point of the chair in just two letters, thus reflecting the Nordic approach and concept of beauty. The design of the shell is elegant and simple, including tranquility in both its visual expression and its comfortable functionality.

LIGHTING EIRA Fagerhult Created together with lighting designers Spiers + Major, the Eira healthcare luminaire offers a less clinical feel due to its slim aesthetic form.Its dual optic provides a diff used light which is comfortable to view even at the highest output, supplemented by a unique performance ring, to provide higher levels of light for both examination and emergency requirements. It is also just as user-friendly in both corridors and nursing stations due to its ability to switch solely to the performance ring during the night so as not to disturb patients.

BOOK THE GREENEST HOME Julie Torres Moskovitz Passive Houses decrease home heating consumption by 90% as well as the overall energy consumption, a perfect choice for sustainable design.

The Greenest Home showcases eighteen of the world’s most attractive Passive Houses by architects such as ARO, Bernheimer Architecture, Olson Kundig Architects and Onion Flats. Each case study consists of a detailed project description, plans and photographs.

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LAST WORD | JASON LEWIS

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 Zeinab Saiwalla Tel: +971 4 444 3305 email: zeinab.saiwalla@itp.com Reporter Aidan Imanova Tel: +971 4 444 3497 email: aidan.imanova@itp.com ADVERTISING

NAVIGATING SPACES

THE LAST WORD Jason Lewis, managing director, Limah Design Consultancy, explains the difference between signage and wayfinding, and why the latter is important to architecture.

Wayfinding is not just signage, it is the connection between architecture and the user experience.

It is about collaborating with architects, developers and cities to understand, shape and influence how humans interact with the built environment, with a goal to increase economic activity and to create positive user experiences.

Good wayfinding should be intuitive; naturally finding your way, rather than through forced sign messages.

The users should feel comfortable enough to get lost and explore, yet sure they can find their way when needed.

Cities like Paris, Rome and New York let me explore, yet feel comfortable.

I’m not lost.

The best examples are places that use all means of wayfinding to assist in navigation - public art, street furniture, architecture, address systems, landmarks and signage.

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 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 Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K M Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 444 3000 Certain images in this issue are available for purchase.

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When we approach new clients and projects, we often hear that it’s too early for signage.

Our challenge is to educate the market of the value that proper wayfi nding can bring to any environment and why early planning is important.

By being engaged early, right at pre-concept and concept stages is when we can add the most value to projects.

The pre-planning results not only in later cost savings, but integrated design and more functional, user-friendly environments.

Subscribe online at www.itp.com/subscriptions Audited by: BPA Worldwide Average Qualified Circulation 5,184 (Jan – June 2012) Cover image Sharjah Art Foundation, taken by Verko Ignjatovic 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.

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Wayfinding seems to be a discipline that finds you; it isn’t a field you search out as it’s not taught in schools.

It draws in people who are explorers and are interested in the science of navigation and the psychology of people in the built environment.

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