Undergraduate Thesis of Architecture by Dania Aqel

Â© Dania Aqel 2018

A thesis book for the Final Architectural Project submitted to the Development of Architecture, School of Architecture, Art and Design, American University in Dubai. In partial fulfillment of the requirements for the degree of Bachelor of Architecture, Fall 2018

Approval of the Thesis Book for Final Architectural Project Department of Architecture School of Architecture, Art, and Design The American University in Dubai

locus Dania Aqel

Student Signatue: Date: Advisor Name: Advisor Signature: Date:

THESIS ABSTRACT Human’s relationship to spaces and places has always been intriguing. We always feel nostalgic to certain places, be it your first house, your school, a certain market ... etc., and that is because we have emotional links to these environments. With today’s fast-paced life we tend to lose most of our sensibility and humane feelings due to an idea called: Metropolitanism. Dubai fits perfectly to the category mentioned above. Dubai is an effervescent city that has been continuously expanding, in an abnormal matter, over the course of the last fifty years. This constant growth resulted in a lot of change in the urban fabric of the city, making it difficult for people to connect with the space before the rise of new development. Behind all of Dubai’s luxe that we see today, lay the lives of many people who have become estranged and alienated to this city. People living in these metropolitan cities are becoming overwhelmed with the speed in the everyday life. The outcome of all these factors put together is our loss of connection with the spaces around us; we stopped feeling nostalgic in our life today. This is where the problem lies. This thesis aims to display a comprehensive study of how Dubai’s expansion has sociological effects on its inhabitants. Through an analogous methodology between the human memory and the urban fabric, I aim to try fixing people’s detachment to the city by proposing public spaces that will function as hot spots to stimulate connectedness in a dissected city like Dubai.

In the transience of a memory, you are always there, my endless source of love, support and care. I wouldnâ&#x20AC;&#x2122;t have been here if it werenâ&#x20AC;&#x2122;t for you Mohammed , Maysoun , Abduallah , Tala, and Faisal

To my inspiration and the one who never stopped believing in me, Dad, I owe it all to you To my Mom, no thank you will ever be enough for all the love you give

To my sister, best friend and the best companion I could ever asked for, thank you for always being there

Love you always and forever

To my extraordinary friends who have become family, this would have been very bitter without having you by my side each step of the way . I am so proud of you

To all my mentors, I thank you all for making me grow ,mature , and learn a lot throughout the course of five years.

The greatest gratitude is to Professor Takeshi Maruyama, I thank you for your endless support and guidance throughout this journey. Thank you for pushing us all the way and help us invision our ideas

Memory

and

Space

TABLE OF CONTENTS

Chapter 1. Introduction: Man, Space and Memory 1.1.History of Man and Space 1.2.Memory According to Cicero 1.3.Memory According to Giulio Camillo 1.4.Emotional Attachment and Nostalgia 1.5. Collective Memory

18 20 22 24 26

Chapter 2. Neuroscience and Memory 2.1. Brain as a Filing System 2.2. Processing of Memory 2.3. The Brain as a Cognitive Map 2.4. Cognitive Mapping in Architecture

34 36 38 43

Chapter 3. Memory in Architecture 3.1. Memorial of the Murdered Jews 3.2 The Light Pavilion 3.3. The Therme Vals

46 54 60

Chapter 4. Dubai: The City 4.1. History of Urban Expansion of Dubai 4.2.First stage: Urban origin 4.3. Second stage: The Planned Suburban Growth 4.4. Third Stage: The Modern Construction of Dubai 4.5. The Contemporary Stage: Cities within the city megaproject

72 74 76 78 82

01 02 03 04

05 06 07 08 09

Chapter 5. Synthesis: Urban Memory in Dubai 106 128 130 132 134

5.1. Elements of a City 5.2.Urban Memory 5.3. Dubai- A Fragmented City 5.4. Urban Typology 5.5. Lack of Public Spaces in Dubai

Chapter 6. Case Studies 138 150 164

6.1. Elements of a City 6.2.Urban Memory 6.3.Dubai- A Fragmented City

Chapter 7. Program Analysis 180 182 183 185

7.1. Spatial Program 7.2.Space Matrix 7.3.Spatial Relations 7.3.Bubble Diagram

Chapter 8. Site Analysis 189 190 192 194 198 211 213

8.1. Locating a Site 8.2. Transitional Sites 8.3. Prototype Area 8.4. Evolution of Dubai Creek 8.5.Potential Sites 8.6.Judgement Criteria 8.7.On Al Satwa

Chapter 9. Concept Design Proposals 232 234 238 242 246 248 250

9.1. Inspiration and Ideas 9.2. Concept Proposal 1 9.3. Concept Proposal 2 9.4. Concept Proposal 3 9.5.A.Concept Proposal 4 - Variation A 9.5.B. Concept Proposal 4 - Variation B 9.6. Concept Proposal 5

Locus / ˈlə kəs / n.

a particular position or place where something occurs or is situated. ------------------------------------------------------------(Oxford English Dictionary)

On Memory.... “Buildings stand in mute witnesses to human events” -Bernard Tschumi

Nothing lasts forever. Every physical object, including human existence, is subject to decay. Yet through the facility of memory, a trace remains of things that have gone before, both as tangible reminders as well as personal interpretations. Within the built environment, architecture has been said to perform as a mnemonic device. Traces of memory surround us. Look around and there is for sure an ample of objects to augment the necessity of memory. There are books, bookmarks, sticky notes, branding, calendars, and most recently our “smart” phones to help recall things that would have otherwise been unremembered. We forget where we placed our wallet, keys, or purse . But the reality is in fact very obvious – we forget. Memory is an interesting aspect of the brain; it seems we tend to only remember the important things while throwing away anything that may seem important at the moment for long-term memory. Of those collections remembered, these seemingly small events, like reading these very words, get condensed to neuron signals to the hypo-campus of the brain, only to be remembered when our brains receive an appropriate trigger. Memories are not purely visual but involve an additional layer of knowledge in order to stay intact. The same issue of forgetting is present in the built environment. Often, in the built environment recognizable memory and the traces of it are cleared away. These traces can be as simple as worn surfaces or in other cases be entire neighborhoods wiped away. Furthermore, certain spaces hold collective memory of cultural meaning or significance. Maurice Halbwachs, a French philosopher and sociologist who is best known for developing the concept of collective memory suggests that memory is always anchored in spatial frameworks. On the other hand, Shelley Hornstein, in Losing Site: Architecture, Memory and Place, expands on this and claims places themselves are capable of generating memories. The place may not hold particular meaning initially but through the built environment a memory of place can be grafted in. Memory is crucial in structuring a society’s identity and existence. And so, memory becomes a pillar in our day-to-day life and architecture is a means of reinforcing that memory in an urban space. Dubai is a city that is distinctively rich in its culture, yet is tending to lose its urban memory due to the extensively globalized urban sprawl.

CHAPTER

Man, Space, Time and Memory 1.1. History of Man and Space 1.2.Memory According to Cicero 1.3.Memory According to Giulio Camillo 1.4.Emotional Attachment and Nostalgia 1.5. Collective Memory

1.1. History of Memory and Space In Platoâ&#x20AC;&#x2122;s Phaedrus, the Egyptian god Theuth, the father of all arts, offers the pharaoh Thamus his latest invention: writing. The pharaoh criticizes him because he believes that the invention of the alphabet will deprive men of their most precious gift - the exercise of memory.To him memory is an internal feature of the mind, which is related with time but not with space (Eco, 1986). Needless to say, the pharaoh was mistaken; the practice of writing has not killed the exercise of memory, it has only enriched it and made it more efficient. Since the most ancient times the art of memory has been closely linked to space. Architecture has always been one of the ways of reinforcing memory. To recall events people build monuments: columns, plaques, obelisks, etc. To remember mathematical and astronomical principles people constructed Stonehenge and the pyramids in Egypt. From early on people developed different techniques of remembering. Before the advent of modern techniques of recording in the last century, people needed mechanisms to remember everything they needed in their studies or activities as an orator. A strong memory was required and mnemotechniques (techniques for remembering) were developed (Eco, 1986).

1.2. Memory According to Cicero In ancient times people knew very well that they could remember a very small percentage of what they heard and if they saw or experienced an object or space they could remember it better. In De Oratore (II, 86-88) Cicero writes a story about the Greek poet Simonides dining in the house of a nobleman, when he is asked to leave the space for a short amount of time. As he exits the room the roof falls, killing all invited and disfiguring their bodies beyond throughout history, recognition. Simonides was able to recall everybody’s exact position around the dinner table. If someone reads a book for a month he/she will be able to recall the overall story, but will not be able to cite specific verses or books. However, if someone spends a month in a city, walking through the city he/she will be able to sketch a suff iciently precise map indicating the most important features used for orientation: different canals, public squares, road networks…etc. These examples confirm the classical treatises on memory: people recollect events, descriptions, and long lists of arguments, dates and even names by associating them with a space. In order to remember a long list of objects we must imagine them placed in a building, or a space. In Cicero’s Rhetorica ad Herennium, each object that needs to be remembered is placed in an imaginary room; this is what is called the Loci method. It is important to note that:

... We must imagine a solitary building, in a deserted place, because the memory of the crowd tends to weaken the impression left by spaces”

1.3. Memory According to Giulio Camillo Frances Yates studies the different treatises on memory starting from ancient Greece to the Middle Ages and Renaissance in her work The Art of Memory. She restored the memory theatre of Giulio Camillo, whose work on remembering had been largely forgotten. Camillo created his memory theatre based on the writings of Vitruvius and on certain traditional ideas about the Temple of Solomon (Malkin, 1999, Yates, 1966). In his Memory Theatre Camillo used images to provide a physical model for memorization.

The wooden theatre had seven levels and each was decorated with images from different traditions, thus creating a collage of occult and mythic icons. Their placement created a mental trajectory and triggered remembering and understanding. In his Theatre the roles of the viewer and the viewed were reversed. The observer was on the stage, in the center of the theatre and the images were in the place of the audience.

1.4. Emotional Attachment and Nostalgia Perhaps recollection of memory does not only serve intellectual needs, but also our emotional needs. The humanâ&#x20AC;&#x2122;s memory has always been built on a certain time and a certain space. Our memory is what helps us perceive and experience the world around us. But, interestingly enough, we always seem to have emotional attachment in certain places like: your school, your home, your neighborhood, your workplace â&#x20AC;Ś etc. and that is due to the formation of memories in that space at a given time. Nostalgia, by definition, is the longing or affection for a certain period in the past. However, nostalgia is a phenomenon that is closely related not only to time, but also to a space. The feeling of homesickness for example is a demonstration of how the human emotion is linked to the memory of a place rather than a time. As human beings, we long for a certain place because it is part of what forms our identity, where most of our memories reside, and where we feel most comfortable and secure. Patriotism is another form of Nostalgia that links humans to a place. For example, Palestinians, though exiled out of their lands for approximately seventy years, still feel nostalgic or patriotic towards their lost land because it is the place that holds their memories and shape their identity.

1.5. Collective Memory Memory is defined as the mental faculty of retaining and recalling the past experiences. It is the act or instance of remembering, recollection. In psychology, memory is defined as the ability to store experiences and learned information with their relations to the past in mind as a result of a conscious process. Perceptual knowledge, which changes with different, cultures effects or social environments are stored in memory. Memory is an individuals’ characteristic; societies cannot “own” memories but can determine the memory of the individuals. (Assmann). In a similar way, Connerton suggests that societies impose individuals a kind of a frame that allows setting their memories in a meaningful place by mapping virtually. This mapping takes place in a mental context that is provided by the society. (Connerton). Although a society does not have a memory, we can talk about existence of a “social memory”. In other words, values belonging to the pastexperiences of a society can be defined as an important characteristic of social memory. When compared with social memory, collective memory has a wider meaning. A collective memory can appear concerning a family, a group or universe. Boyer, in his book The City of Collective Memory (1994), declares that the city can be defined as a fact of collective memory. Maurice Halbwachs, a sociologist who first coined the term “collective memory” in his book La Mark Crinson XII Mémoire Collective (1950), describes history as an instrumental and overly rationalized version of the past, by contrast with memory, which was intimately linked with collective experience. Memory, for Halbwachs, bound groups of people together, recharging their commonality by reference to the physical spaces and previous instances, often a founding moment, of that collective identity. But clearly the collective nature of Halbwachs’s memory made it amenable to the collective spatiality that is the city.

People

People in a shared space

Impact of collective memory on people in shared space

Musee du Louvre, Paris - A cultural monument as a place of collective memory

Kaaâ&#x20AC;&#x2122;ba,Mecca - A religious monument as a place of collective memory

Peter Eisennman’s Memorial of the Murdered Jews serves as a reminder in the heart of Berlin of the regions past or collective memory. The memorial is concrete interpretation of the suffering of the city in the past. While some argue that the memorial represents the shame of the city’s former experiences, others argue that the city must accept and embrace its past regardless if it is shameful or not. Despite the controversy around the memorial, it still acts as an anchor in the city and portrays the city’s rise and fall and embeds that in the people’s memory.

CHAPTER

Neuroscience and Memory 2.1. Brain as a Filing System 2.2.Processing of Memory 2.3.The Brain as a Cognitive Map

2.1 The Brain as a Filing System In the human environment, we are always exposed to an ample amount of data on a daily basis. And yet, the human brain is capable to hold the capacity of this datum and rightfully place them in the brain for future use and processing. Our brain’s dynamic is very fascinating and is carefully designed to store memory and to forget some of it, in order not to bombard our mind with too much information. Memories in our brain are stored in a very intricate fashion almost similar to a filing system. The human memory can be accessed in three different ways:

RECALL a measure of memory’s ability to retrieve information learned earlier

RECOGNIZE a measure of memory’s ability to identify items previously learned

RELEARN a measure of memory’s ability to identify items previously learned

Understanding how the mechanics of the brain work, in order to retrieve a certain memory at a given time and a space, is a pillar to comprehend our perception of space.

2.2. Processing of Memory Psychologists Richard Atkinson and Richard Shiff rin developed a memory model whereby they proposed that the memory consisted of three components: sensory memory, short-term memory and long-term memory. The sensory memory is an immediate momentary memory reaction to sensory stimulation, which can later become encoded to become short-term memory through rehearsal or repetition. Fascinatingly, data in the humanâ&#x20AC;&#x2122;s short-term memory can only last for approximately 30 seconds and hold 4-7 bits of information. At this point, the memory either decays and gets disposed by the brain or gets encoded into the long-term memory. Long-term memory is like the database of the brain, a huge network that stores all our past encounters and information throughout a lifetime. However, researches later on showed that shortterm memory gets stored into long-term memory through two processes : explicit and implicit memory.

Explicit memory is the conscious awareness of apprehending information ,declarative memory in specific is the memory of facts and events. Declarative memory can be broken down into : episodic memory (memory of events) like experiencing an event, or semantic memory (memory of facts) like studying. Implicit memory, on the other hand, is the unconscious memory of â&#x20AC;&#x153;learningâ&#x20AC;? skills like riding a bicycle; over time memory recognizes the action and unconsciously performs it effortlessly because it is stored in the long-term memory.

2.3. The Brain as a Cognitive Map Through human evolution, the human brain tends to function as a navigation system in order to orient our position in relative space. This subconscious power in our brains that gives us a sense of direction is what is called- cognitive mapping. To some extent, the human brain draws a map of different places of interest in relevance to our position in space. Psychologist Edward Tolman, was the first to introduce the term â&#x20AC;&#x153;cognitive mapâ&#x20AC;?, his research was based on experiments done on rats and their perception of location in a maze. The experiment he conducted was established by placing rats in a maze like the image below (left), and had to make their way from point A to point G, where they found food. After four nights of practice, the familiar maze was replaced with a new one (right). The rats intuitively tried the top path first based on their earlier experience, but that path was blocked. What happened next is the shocking surprise that the rats chose to pursue path number 6.

7 6

FOOD

FOOD 4

E 3 C 2 1

B A

Preliminary training

Test trial A

Had the rats drew only associations about which behaviors were or weren’t reinforced, they wouldn’t have had a spatial map to guide them. Instead, they would likely choose the path most similar to the one that had originally lead to food and take path 9 or 10. In contrast, the rats had formed something like a mental map of the original maze, they’d know that the food was ahead and to the right, and should choose a path like 6, which pointed in that direction.

In a paper that includes this study, “Cognitive Maps in Rats and Men” (1948), Tolman proposes that humans have cognitive maps that not only situate them in space, but within a broader network of causal, social and emotional relationships. And that, is what facilitates navigation around any space based on memory of the place.

Defensive forts act as an element to help identify different locations

Lighthouses mark places around the shores, and helps in navigating aound the sea

2.4.Cognitive Mapping in Architecture Throughout history , the usage of nodes, similar in structure, has always been used to aid navigation or even communication. Perhaps not in the sense of reinforcing a sense of place , but rather to use architectural elements such as defensive forts or lighthouses. Throughout history, forts where always used for defense. In a more specific mater, the fort’s distingushible typology allows a direct recognition a network of a series of other forts nearby. Hence, the frequency of the same typology across a landscape creates an unconscious mapping of the space.This concept facilitates communication between forts and subconsciously reinforces the cognitive mapping in the urban fabric through using the forts as anchor points. Similarily, lighthouses function in a similar fashion for navigating in water bodies. The element of light also emphasizes the importance of perceiving these architectural typologies which become important nodes in the brain’s cognitive maps and in understanding one’s location relative to other spaces of memory. Based on this fundamental understanding, we can analyze that in order to reinforce a “mental” or cognitive map embedded within our memory, there must be several nodal anchors in a spatial landscape to shape a network of memories of places in the brain.

CHAPTER

Memory in Architecture

3.1.Memorial of the Murdered Jews 3.2.The Light Pavilion 3.3. Thermes des Vales

3.1. MEMORIAL OF

THE MURDERED JEWS

Project : Memorial of the Murdered Jews Location : Berlin, Germany Architect : Peter Eisenman Year : 2004 Peter Eisenmanâ&#x20AC;&#x2122;s memorial in Berlin questions the way we see and experience remembrance. It is not a typical memorial where the visitor stands in silence, overwhelmed, making faces, saddened. It does not describe an experience, it asks the viewer just to wander around the concrete grid and feel. It is a forest of 2,711 dark concrete stelae, each 90 centimeters wide, nearly 2.5 meters long, with heights varying to more than 4 meters, all of them tilting at various angles. (Davey)

The Memorial to the Murdered Jews of Europe does not demand remembrance. It does not call on its visitors to perform an emotional ritual. They are drawn in by the concrete field and as they walk they find themselves immersed by stelae, having brief encounters with other visitors, who have also just turned a corner. The monument is free of memory; people are invited to experience it in a way that is suited for them. There is no single entrance, no start or endpoint, no explanations. The monument does not even have the names of murdered Jews on the stelae. Eisenman was adamant in this argument, insisting that the monument needs to capture â&#x20AC;&#x153;the unforgettableâ&#x20AC;? while an underground information center records all known murdered Jews. People approach the field of memory from the busy economic, political core of the city. The first stelae are low, often used as benches, drawing people slowly in, maybe a metaphor for the slow start of Nazism, or maybe not. The assurance of the grid is undermined by the tilting of the concrete stelae (Page, 2005). People lose themselves, experience fear, and feel a little nauseated because their gravity and verticality are being questioned. There are no rules for the use of this memorial: some visitors reflect on their past, while children play hide and seek. It has become a true public, urban space,

EBERT STREET

BEHR STREET

CORA BERLIN STREET

WEST-EAST SECTION 1

CORA BERLIN STREET

WEST-EAST SECTION 2

CORA BERLIN STREET

WEST-EAST SECTION 3

HANNAH AHRENDT STREET

NORTH- SOUTH SECTION 1

HANNAH AHRENDT STREET

NORTH- SOUTH SECTION 2

HANNAH AHRENDT STREET

NORTH- SOUTH SECTION 3 51

Internally, the distance between each stelae is 920mm, wide enough for one person to pass through. Once you are within the ‘field’ you become isolated from other individuals, the deeper into the field the more isolated the viewer becomes. The viewer is totally unaware of how many others are within the structure. One catches glimpses of others as the pass through walkways, however for the most part you are invisible. There is a sense of not knowing what is going on within the rest of the structure/city/ world. Feelings of self-consciousness are removed, allowing for a deeper level of contemplation. Peripherally, the shortened stelae around the peripheries of the ‘field’ form meeting spaces, places for people to sit together and either recall or create shared memories. These spaces emphasise the isolation felt within the ‘field’ by contrasting it. The viewer feels a sense of freedom here, no activities are restricted.

individual memory created

individual memory recalled

shared memories created

shared memories recalled

3.2 THE LIGHT PAVILION 55

Project : The Light Pavilion Location : Chengdu, China Architect : Lebbeus Woods Year : 2012

Lebbeus Woods challenges conventional concepts of existing architectural grids in order to create impressive spatial experiences. In the design of the Light Pavilion, in Chengdu, China, Lebbeus Woods proposes a mediator in the existing grid-based buildings in the area as a form of “shock”. The installation’s irregular form is set against regular rectilinear architectural geometries to create a moment of break in structure. Ando so, the pavilion provides opportunities for users to experience new and unfamiliar spatial qualities. The design illustrates a dynamic quality; the illuminated supporting columns for the stairs and viewing platforms have a non-rectilinear grid, which frees the space from the static stability of architectural settings. The irregular geometry of the columns, their change of scale, and altering orientation, in combination create an effect of motion in space. Just as the architect initially intended it, the Light Pavilion is a presentation of something unknown. The visitors need to explore in order to comprehend the potentials hidden in each moment in the transitional spaces. As we climb up the space, the voids turn to solids and vice versa. Walking up the staircases, the columns open or enclose the views from one side to the other Parallel to the architect’s original design intention; the act of moving up the stairs to create a new orientation evokes our consciousness.

In the Light Pavilion, what visitors experiment is a series of progressively increasing or decreasing differences as they climb up or down the stairs. The unbalanced structure of the Pavilion invites visitors to participate in the space, engage and experience it. The spatial and temporal contrasts of the structure are so strong and sharp that they stir the visitorsâ&#x20AC;&#x2122; minds, awake their memories, and evoke their emotions . The architect achieved striking moments through the use of irregular forms, in accordance with Ciceroâ&#x20AC;&#x2122;s description of memorable places. He said that in order to shape a series of places in our memories, a building must be able to evoke various memories. The preliminary sketches of the pavilion suggest a very distinct and experimental space, leading visitors to experience it with a strong awareness of contrast. The Light Pavilion creates a memory place. When we see ordinary things in our everyday lives, we usually fail to notice and remember them. To remember things, our minds must be inspired by something new, i.e.: experiences in the Light Pavilion are achieved by the use of irregular spatial qualities within the regular spatial quality of the Cartesian Grid. (Dehnadfar)

3.3. THE THERME VALS 61

Project : Thermal Bath at Vals, Graubunden, Location : GraubĂźnden, Switzerland Architect : Peter Zumthor Year : 1996

As opposed to Lebbeus Woods, Zumthorâ&#x20AC;&#x2122;s creative imagination follows the laws of ideal geometry, but remains very complex with many layers of transitions (intervals). The design approach for Therme Vals expresses the notion of architecture as not being mainly visual. Throughout the whole design process journey, the architect takes a multisensory design approach in order to create a series of experiential intensities. With the focus on sensual experience, the Thermal Bath at Vals provides the opportunity for visitors to experience their own exploration of known or unknown places. In the previous case study, the Light Pavilion provided an interval through the inactive geometry of Cartesian grid in an attempt to enhance experiential qualities of the built spaces, whereas the Thermal Bath at Vals presents a different level in its representation of intervals. The experiential intensities are expressed through transitions between two opposing qualities; light to dark or sound to silence. 62

A pure geometric pattern was initiated to define spaces. These spaces included the block spaces accommodating the baths, as well as the interconnected web of interstitial spaces between them. The initial sketches make clear that the bath should be conceived in terms of both blocks and interstitials. In a series of preliminary floor plan sketches, the voids between the blocks were recognized as moments of transitions: hot to cool, dark to light, sound to silent. Zumthor perceived each space in tight relation to its neighbor. Each programmed block expresses an extreme experiential quality, which is heightened through its proximity to a moment of pause or relief. The informal and tension-free quality of the voids between the programmed spaces prepares the bathers for the next experiment on their journey of explorations. In Frances Yates book Art of Memory, she refers to spaces between places and to five rules for remembering them. She explains the importance of these interstitial spaces as â&#x20AC;&#x153;pausing for reflectionâ&#x20AC;?. The elaborate spatial design of Bath at Vals follows the same phenomenological rules, and provides a balance between tension and relaxation.(Dehnadfar) The Therme Vals is a good example that employs memory in a more sensual manner through experiencing the space with different senses and throughout the journey within the space.

On Dubai... “I want Dubai to be a place where everybody from all over the world meets each other, don’t think of fighting or hate, just love it, enjoy their sport, and that’s it.” -H.H. Sheikh Mohammed bin Rashid Al Maktoum To many Dubai is the just a typical metropolitan city like many others- curtain walls, skyscrapers, and highways.Just like New York or Hong Kong . But that’s not the case .Dubai is very different than any of these places in many ways starting from its dynamic and growth. To me and I’m sure to many others, Dubai is were I grew and flourished and created most of my memorable moments.It is the city I proudly call home away from home.To many others like me, Dubai is the safe haven thathas been embrassing people from everywhere around the world. Dubai is the city that underneath all the fashionable and trendy facade, lies a very humble, affectionate and grounded place- some place very true. Watching this bustling city grow before our eyes made us indifferent to the spaces we used to once appreciate.And thus, this city has a lot of problems that need the public to engage in order to revive and bring out the true and honest characteristics of Dubai back again.

CHAPTER

The Memory of Dubai : The City

4.1. History of Urban Expansion of Dubai 4.2. The first stage: Urban origin before 1971 4.3. The second stage: The Planned Suburban Growth from 1971 - 1984. 4.4. The Third Stage: The Modern Construction from 1985 – 2003.

of Dubai

4.5. The Contemporary Stage: Cities within the city’ mega projects 2004 – 2015.

4.1. History of Urban Expansion of Dubai The recent urban growth in a city like Dubai has led to two important aspects, population growth and urbanization. Dubai was the fastest-growing city in the world (Krane). Whereas population growth is measured in terms of the increase in the number of people inhabiting in a given area over a certain period of time, urbanization is the process affiliated with population concentration in a specific area. (El Essawy) Dubai is an example of a rapidly developing urban settlement that supports its ever-increasing human population. The outcomes are evident in a dramatic sprawl and development of its urban area, with a compound annual growth rate of more than 10% over the study period conducted between 1985 - 2015. It reached its peak of 13.03% as an annual growth during the period of 2003–2005, consequently making Dubai one of the fastest growing cities (ElEssawy). According to Fayez ElEssawy’s The Boom: Population and Urban Growth of Dubai City, Dubai reveals that the city can be divided into urban development of four different periods.

The First Stage: Urban origin before 1971 The Second Stage: The Planned Suburban Growth from 1971 - 1984. The Third Stage: The Modern Construction of Dubai from 1985 – 2003. The Contemporary Stage: Cities within the city’ mega projects 2004 – 2015.

The First Stage The Second Stage The Third Stage The Contemporary Stage

4.2. Urban Origin Before 1971 During the first stage, the inhabitants lived in houses made of palm fronds and had limited resources which restricted the growth of urban city. In 1955, it only covered an area of 3.2 square kms. It consisted of three distinct areas along Dubai creek and the Arabian Gulf: Deira (the largest in terms of size and the main commercial hub) , Bur Dubai ( on the western bank) and Al Shindagha , which were separated by a wide stretch of sand called Ghubaiba. Al Shindagha, a residential area situated on a narrow strip of land out looking the creek, was a small area compared to Deira. However, Bur Dubai was the smallest area compared to both. During the second half of the fifties of the twentieth century, there was a need of formal organization to support the growth of Dubai. In the 1950s, the creek began to silt, due to the increasing number of ships in the harbor. The late Ruler of Dubai, Sheikh Rashid Bin Saeed Al Maktoum, decided to divert transportation away from the water. The decision resulted in increased volumes of cargo handling in Dubai, ultimately strengthening Dubaiâ&#x20AC;&#x2122;s position as a major trading and re-export hub in the region .As the first bridge was constructed across Dubai Creek in 1963, most of the urban developments started to occur around the district of Deira. Since the construction of the Maktoum Bridge contributed to the formation of the United Arab Emirates, Dubai has expanded primarily towards the East. Thus, much of the urban development has sprawled incoherently on the outer fringes of Dubai, along the roads of Sharjah towards the East and Abu Dhabi city to the West. This change has transformed Dubai into a coastal linear city. However, the urban expansion continued at a slow pace to reach about 40 square kilometers.

The First Stage The Second Stage The Third Stage The Contemporary Stage

4.3. The Planned Suburban Growth from 1971 - 1984 In 1971, the Dubai Emirate became one of the 7 Emirates of United Arab Emirates. Between 1971 and 1985, a planned suburban growth occurred and a new master plan for the city was considered. Major transportation developments were connected to the city districts from both sides of the creek. The major developments 3.5 Sq.Km in the urban structure along with the economic, social and physical growth continued rapidly during the 1980s. The economic prosperity of the oil years has helped transform Dubai from a sleepy fishing village on the Arabian Gulf into a modern prosperous cosmopolitan city, and development planning for the post-oil decades is designed to continue this growth process (Elessawy) As an Emirate, Dubai had more disposal capital due to the oil revenues. After the oil discovery in 1966, major infrastructure and urban development projects were planned. Investments were made in improving the current road system, building tunnels, bridges, container terminals, and trade harbors as well as industrial and residential areas. Likewise, financial, business and administrative centers were established in different parts of the city. The total built up area of Dubai city increased from 40 square kilometers before 1971 to 109 square kilometers in 1985. This indicated that 69 square kilometers had been added to the city during the last 15 years. Many new areas were formed such as Al Qsais, Al Twar, Um Ramool and Al Rashidiya with an area of about 25 square kilometers (36 % of the added new area). At the same time the built up area continued to grow up in the new suburbs toward Abu Dhabi city (West, North West and South West direction) as Al Satwa, Al Jaffiliya and Al Jumeirah covered a total area of 30 square kilometers (44 % of the added new areas). The new expansion of Dubai city toward the Southern direction included new suburbs as Mirdif, Al Warqa, Ras Al Khur, Al Karama, Zaabeel, Al Satwa and Al Wasl. During that period, the total built up area added was about 18 square km, representing 30 % of the new expansion of Dubai city. This resulted in Dubai becoming the main regional business and tourism hub. (El Essawy)

The First Stage The Second Stage The Third Stage The Contemporary Stage

4.4. The Modern Construction of Dubai from 1985 â&#x20AC;&#x201C; 2003 In the early 1990s, Dubai took a strategic decision to emerge as a major international- quality metropolitan city. The Dubai Urban Area Strategic Plan starting from 1993 till 2012 was prepared to guide the economic and physical development of the city, leading to 21st century. One of the key challenges of the plan was to stimulate cooperation between public and private agencies in their business investments. The dynamics of the plan represented an effort to provide a spatial framework for urban growth by indicating planned land use structure. This was done to enhance tourism in the region and develop a business district, which is within the global reach. This resulted in urban environment construction series of â&#x20AC;&#x2DC;cities within the cityâ&#x20AC;&#x2122; mega-projects. The economic and social fluctuation was caused as a result of the increase in income level within the country, source being the oil. Since the beginning of the last three decades of the 20th century, a huge evolution (Stewart)occurred in the process of urbanization inside Dubai, which led to the expansion of the urban land and the construction of advanced buildings (Davidson 2008).

The First Stage The Second Stage The Third Stage The Contemporary Stage

Moreover, these infrastructure projects, leading the economy paved the way to the growth of real estate investments, trade, services, industry and tourism, thus making it independent on relying in oil and gas. The total built up area of Dubai city soon increased from 117 square kilometers in 1984 to 147.3 square km in 1990 . This indicated that 30 square kilometers was added to the city in only five years. The main road of Sheikh Zayed Road that linked the Eastern areas with the Western areas of the city encouraged the construction of new areas such as Jebel Ali in the west. New suburbs were added to the city like Umm Saqeim, Al Sufouh, Alquoz, Umm Alsheif and Al Safa .

700

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AREA

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0 80

1970 1970

1980

1990

20 YEAR

The second large expansion was towards Sharjah city (East, South East, and North East). Many new areas appeared such as Al Muhaisnah, Al Mizhar, Al Nahda and Al Awair. About 7.5 square kilometers constituted 25 % of the added built up area of the city. The new expansion of Dubai city toward south direction was limited to a new suburb of Nad Alsheba and the appearance of the Emirates Road (Sheikh Mohamed Bin Zayed now) linking the northern Emirates together.

20002000

2010

2020

POPOULATION

The total area added at the western directions was 13.5 square kilometers. Almost 45 % of the total area was added during 1984 to 1990.

URBANIZATION POPULATION

The First Stage The Second Stage The Third Stage The Contemporary Stage

4.5. The Contemporary Stage: Cities within the city - Mega projects 2004 – 2015 Somewhere during the late twentieth century, Dubai became more than itself. The city was, suddenly, a postmodern urban spectacle rising from the desert precisely the glittering global consumer utopia imagined by Dubai’s rulers and merchant elite (Kanna (Davidson)). Dubai’s today is one of the international hubs of services, commerce and leisure. There are many new built up areas (Suburbs) added to the city, which increased its area to become 976.6 square km.

The First Stage The Second Stage The Third Stage The Contemporary Stage

Business bay: Central business district has numerous skyscrapers located in an area of Dubai Creek, Business Bay will have upwards of 240 buildings, comprising commercial and residential developments. It covers an area of 2.2 square km

Downtown Dubai: It is the home of some of the cityâ&#x20AC;&#x2122;s largest landmarks including Burj Khalifa, Dubai Mall. It covers an area of 2 square km.

Jumeriah Lake towers: it consists of 80 towers being constructed along the edges of 3 artificial lakes it covers an area of one square Km.

Dubai International Financial Center: A multi-billiondollar real estate development on 45.000 m2 of desert in a financial free zone.

Dubai Marina: Covering 4,5 squares km, it is the largest man made marina in the world creating a promenade along the entire waterfront.

Festival City: Located along the shores of the creek it comprises of fifteen residential communities with leisure, entertainment, and shopping facilities.

Palm Islands: The artificial islands of Palm Jumeirah, Palm Jebel Ali and Palm Deira each with a mixed-use land development. The Palm Islands are located off the coast of The United Arab Emirates in the Arabian Gulf and added 520 kilometers of beaches to the city of Dubai.

International City: A residential development comprising 2100 residences Al Maktoum International Airport area near Jebel Ali: planned to be the worldâ&#x20AC;&#x2122;s largest passenger and cargo hub.

The total built up area of Dubai city increased from 396.2 square km in 2003 to 976.6 square km in 2015. This indicated that a vast area of 580 square km had been added to the city during the last 12 years In addition there are many other new areas added to the present built up area of the city recently.

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From all othis, we can understand that Dubaiâ&#x20AC;&#x2122;s urban growth was not a steady one, instead we can understand that Dubaiâ&#x20AC;&#x2122;s growth was once very organic and dense, and then exponentially sprawled across the shoreline.

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CHAPTER

Synthesis : Urban Memory in Dubai

5.1. Elements of a City 5.2. Urban Memory 5.3. Dubai- A Fragmented City 5.4. Urban Typology 5.5. Lack of Public Spaces in Dubai

5.1. Elements of a City In the urban planner, Kevin Lynch’s “The Image of the City” , image can be explained as “a picture especially in the mind” , a sentimental combination between objective city image and subjective human thoughts. The productions of environment images are influemced by a two-way process between the observer and the observed. The observer, with great adaptability and in the light of his/her own purposes, selects, organizes, and endows with the meaning what he/ she sees. Therefore, the specific image can be totally different from the different perspectives of observers

PATH

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NODE

Based on this understanding, any urban city can be broken down into five main elements: 1) Paths 2) Nodes 3) Landmarks 4) Edges 5) Districts

LANDMARK

EDGE

DISTRICT

107

PATHS According to Lynch paths are channels in which the observer circulates and discovers a space Typologies of path are obvious in: 1) Streets 2) Walkways 3) Transit Lines 4) Canals 5) Railroads

108

In Dubai, paths are evident in highways mostly. However, roads, sikkas, souqs, and even urban voids ( corridor between two towers) are also other forms of paths as well .

People observe the city while moving through it, and along these paths the other environmental elements are arranged and related

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PATHS

110

NODES Nodes are points, the strategic spots in a city into which an observer can enter, and which are the intensive foci to and f rom which he is traveling Typologies of nodes are obvious in: 1) Junctions 2) Intersections 3) Concentrations 4) A break in transportation

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In Dubai, nodes are mostly evident in places with a lot of human density like in big road junctions, souqs, commercial areas, intersections, metro stations , or bus stops

Some of these concentration nodes are the focus and epitome of a district, over which their influence radiates and of which they stand as a symbol.

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NODES

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115

LANDMARKS Landmarks are another type of point-reference, but in this case the observer does not enter within them, they are external They are usually a rather simply defined physical objects building, sign, store, or mountain Can be observed in: 1) Buildings 2) Signs 3) Store 4)Mountains

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In Dubai, landmarks are mostly prominent in towers, hotels, waterf ront developments,tourist attractions and shopping malls

Some landmarks are distant ones, typically seen f rom many angles and distances, over the tops of smaller elements, and used as radial references.

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LANDMARKS

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EDGES According to Lynch edges are the linear elements not used as paths by the observer. They are the boundaries and linear breaks in the continuity These typologies are obvious in : 1) Shores 2) Railroads 3) Walls 4) Edges of development

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In Dubai, edges are illustrated in Dubai Canal, the Dubai Metro railway, the Gulf shore, and development edges

An edge may be more than simply a dominant barrier if some visual or motion penetration is allowed through itâ&#x20AC;&#x201D;if it is, as it were, structured to some depth with the regions on either side.

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EDGES

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DISTRICTS

Districts are the relatively large city areas which the observer can mentally go inside of, and which have some common character. They can be recognized internally, and occasionally can be used as external reference as a person goes by or toward them.

Districts are the medium-to-Iarge sections of the city, conceived of as having two-dimensional extent, which the observer mentally enters â&#x20AC;&#x153;inside of,â&#x20AC;? and which are recognizable as having some common, identifying character 124

In Dubaiâ&#x20AC;&#x2122;s urban infrastructure districts can be mostly understood as the microcities within the city. Like: Dubai Media City, Academic City, Palm Jumeirah

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DISTRICTS

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127

5.2. Urban Memory After establishing an understanding of how a Dubai’s elements of the city interact with one another, one can understand why the city of Dubai is still lacking a charcter of connectivity. The problem in Dubai is that the inhabitants cannot link different parts of the city to one another - hence, the capability of drawing cognitive maps in the mind can seem like an arduous task especially in a city that is globalized. A sense of place, or place identity, is an internal construct facilitated by an emotional attachment to location through cultural, historical, and spatial contexts (Williams & Stewart, 1998). However, the notion of placelessness (or non-place) in urban public space, whereby landscapes are devoid of identity is being exacerbated by monotonous development patterns through suburban sprawl and increasing land privatization. These placeless developments are negatively impacting a collective sense of community and land stewardship (Aref i,). Additionally, car dependence and reliance on GPS navigation aids are diminishing individuals’ spatial awareness by drawing attention away from their surroundings (Ishikawa, Fujiwara, Imai, & Okabe,) Mazzoleni states that we cannot consider metropolis as “spaces” anymore, because its dimensions exceed the limits the habitant’s perception tools. Seeing, which is the widest tool of sense, is torn down. It is mostly the visual field that defines the city dimensionally: metropolis does not have a panorama anymore, because its body overflows beyond the horizon”. (Mazzoleni) And so, ones collective memory or understanding of the city’s past is overshadowed by the cosmopolitan lifestyle. The phenomena of globalization distorts the remnants of what composes a city’s true urban identity- its memory.

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5.3. Dubai- A Fragmented City Dubai’s rapid growth and globalized or westernized style have contributed in the decaying identity of the city that was once “ quiet fishing harbor city”. The inhabitants of the city stopped perceiving or “remembering” the essence of the city, Dubai. Our brains are no longer capable of linking parts of the city through cognitive mapping due to the senseless urban growth the city has been experiencing and extensive car dependence. Dubai in the views of its inhabitants is a fragmented city, and that is evident in the common belief of dissecting the city into so-called micro cities or “development islands”

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5.4. Urban Typology In my opinion, Dubai’s fragmentation is mainly caused by the urban infrastructure of the city. Dubai’s urban sprawl has been baffling over the years . Dubai ,over the last few years,has been an international investment hub , which propelled many developers to build mega projects in their lands. That resulted in the creation of development “islands” in Dubai that lack a coherent system and that are not well-integrated to one another, making the growth in Dubai unorganic after 1986. Looking at other metropolitan cities’ urban patterns, one can directly observe that cities like New York or Paris have a clear urban typology that makes it easy for its inhabitants to map the city and draw connections.This character is what is missing in Dubai- a consistant urban pattern that helps the observers in the city create links and understand the connections in the city.

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5.5. Lack of Public Spaces in Dubai In Dubai, the lack of public spaces in the urban infrastrcuture plays a big role on the urban memory of the city. Dubai is particulary lacking urban public spaces that are not strictly a developmental project- but rather something that gives back to the community and is appealing to all. The lack of public spaces is very obvious in Dubai , as many laborers use spaces in the urban fabric as public spaceshence, the concept of informal public spaces in Dubai. There are many obvious examples of informal public spaces in Dubai due to unplanned social behaviors and urban activities in places that were not designed to function so. And so, there is a need for public spaces in Dubai and that is manifested in the use of unplanned spaces for social activities like: playing cricket and gathering around in parking lots on the weekend and meeting at street corners to have tea and mingle.

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CHAPTER

Case Studies

6.1. Parc La Villette by Bernard Tschumi 6.2.Beton Hala Waterfront Center by Sou Fujimoto 6.3. 11th Street Bridge Park by OMA

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6.1

PARC LA VLLETE

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Project : Parc La Villette Location : Paris, France Architect : Bernard Tschumi Year : 1983

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Parc de La Villette was project patroned by the French Government to reurbanize a 700 km 2 park that was once a slaughter square in the past. The main concept Tschumiâ&#x20AC;&#x2122;s masterplan was to create a park that is designed for culture rather than nature. The park was intended to create a space for activity and interaction rather than relaxation and self-indulgence by situating 35 red steel â&#x20AC;&#x153;folliesâ&#x20AC;? that are oragized on a rational grid. These follies care meant to act as points of reference that help visitors gain a sense of direction and navigation throughout the space- hence, creating mental maps across the site.

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parc de la villette

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gare du nord

gare dâ&#x20AC;&#x2122;est

Transit Lines along the border of Paris

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POINTS 144

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Being objects of interest, the follies create their own circulation. They draw visitors into the programless space in between structures

Rail Networks and industrial area

Main highway

Grassed Surfaces

By the designâ&#x20AC;&#x2122;s nature, circulation is predetermined but also random at the same time. What is created is a hybrid through tension between the real and the imagined

Metro station Towards Paris

Restaurant

The variety of programs are connected by a grid of follies that form a whole. The space occupied by the follies however, is programless- the spave provides a conceptual framework to rethink the nature of the space. Hence, this type of urban development creates mental maps 146

Science museum

Gallery

Concert hall

The hybridity of the park comes from it changing nature. The natural environment changes with seasons and so does the events and experiences of the observers. However, the park never loses its identity - through its organization

CIRCULATION BETWEEN FOLLIES

Although organised in a rigid grid pattern, the follies interact with one anotherand are connected in a very fluid matter. The follies are extroverted spaces allowing the visitors to go and discover the other follies and to create connections of the surrounding

147

Parc de La Villete acts as a hybrid between strict organisation and free movement. The landscape is composed of a grid of points superimposed on a field of lines and curves. In one sense,the grid acts as a way for inhabitants of the park to orient themselves. However, the follies at the grid points also dissassociate the park with preconceived ideas of space thorugh their ambiguous and deconstructivist nature. The space is essentially a non-space, it has no defined program, just a physical frame, where social interpretation can grow

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6.2

BETON HALA CENTER 151

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Project : Beton Hala Waterfront Center Location : Belgrade, Serbia Architect : Sou Fujimoto Year : 2012

Sou Fujimoto’s “floating cloud” at Beton Hala was awarded the first prize for the Beton Hala Waterfront Center in Belgrade.The design is strikingly contrasting the medieval character of the city. The project aims to create an interlace by connecting different parts of the city to the waterfront’s core and by prooviding different social and transportational programs that help the urban infrastructure of the city. The waterfront center encompasses reatil spaces, cafes, restaurants, echibition spaces, and observation decks.The lightweight “CLOUD” becomes a hub that links the ferry, the tram and the bus in Belgrade

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Fujimoto designed this public urban space with consideration to all the observers that could visit the space. And so, the site is accessible through ramps- for the disabled, elevators- for the ferry users, and stairs- for the pedestrian.

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Access through elevator Access through ramp Access through stairs

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CHESS TABLE

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PLAN GL+ 2300-7000

RELAXATION SPACE

EXTERIOR EXHIBITION

CAFE EXHIBITION SHOP/ MARKET CHESS TABLE VIEWING DECK 157

STREET MARKET

CHESS TABLES

158

PLAN GL+ 7000-12000

CAFE

CAFE TERRACE

CAFE EXHIBITION SHOP/ MARKET CHESS TABLE VIEWING DECK 159

CHESS TABLES

VIEWING DECK

160

PLAN GL+12000

RELAXATION SPACE

EVENT SPACE

CAFE EXHIBITION SHOP/ MARKET CHESS TABLE VIEWING DECK 161

Retail

F&B

Public Space

Shop 1

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Cafe 1

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Viewing deck 1

150

Shop 2

Cafe 2

110

Viewing deck 2

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Shop 3

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Cafe 3

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Chess table 1

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Shop 4

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Cafe 4

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Chess table 12

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690 m2

162

Shop 5

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Cafe 5

Shop 6

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Cafe 6

Shop 7

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Art-Cafe

320

Shop 8

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Restaurant

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Shop 9

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R e s t a u r a n t / 280 cafe

Shop 10

Shop 11

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Shop 12

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1690 m2

1480 m2

Services

Exhibition Main Exhibition

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280 m2

Info

Technical unit

514

Waste

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Central Exhibition Storage

Information

82 m2

Public

Storage

Services

773 m2

Total Built-up Area= 4,995 m2

PRIVATE 15%

PUBLIC 85%

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11TH ST BRIDGE PARK

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Project : 11TH Street Bridge Park Location : Washington DC, USA Architect : OMA + OLIN Proposed Year : 2014

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The project was a winning proposal for the Washington DC 11th street bridge park competition that was aimed at turning an old freeway above the Anacostia river into an elevated park and a new public space for the city. The project aims to bridge the two banks of the river through intersection and co-existance. The elevated structures is a space for engagement with a layered program taylored for the local workforce, the tourists and the residents.

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The essence of the design is in creating a landscape that is accessible to the community. Therefore, the program created is a reflection of the regionâ&#x20AC;&#x2122;s culture and history. Moreover, to encourage longer visits at the bridge throughout the year, comfort amenities are provided including: restrooms and food, shade, and warmth. The central meeting point , at the intersection of the two path, creates an open plaza that acts as venue for possible markets, festivals, and thearatical performances. The paths also provide a sequence of zones dedicated for play, relaxation learning, and gathering. With each side of the river holding a waterfall that acts as a point of recollection to the river. On the east side, the waterfall is directly linked to a filtration system that with the help of the new wetland areas nearby work to actively clean the river around the crossing.

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

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Rain Garden Washington DC Look Out Amphitheater Hammock Grove Picnic Garden Moss Garden Anaquash Plaza Urban Agriculture Lawn Interactive Art Sculpture Park Anacostia Look Out Kayak & Paddle Boat Launches Waterfall Environmental Education Center 21st Century Play Space Anacostia Park

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1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

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Rain Garden Washington DC Look Out Amphitheater Hammock Grove Picnic Garden Moss Garden Anaquash Plaza Cafe/ Gift shop Lawn Interactive Art Sculpture Park Anacostia Look Out Kayak & Paddle Boat Launches Waterfall Environmental Education Center 21st Century Play Space Anacostia Park

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Gift Shop

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Cafeteria

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Marinelife viewing park

150

Cafe

150

Pedestrian walking lane

240

Interactive art space

230

Nap / resting areas

100

Botanical gardens

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Hamoc grove

100

Picnic garden

Jogging track

150

Bike Lane

150

Play area

220

Plaza

530

400 m2

1925 m2

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Exhibition Temporary exhibition

Services 180

180 m2

Temporary exhibition

350

Kitchen

160

Toilets

180 Public Services

690 m2

Total Built-up Area= 3,275 m2

PRIVATE 21%

PUBLIC 79%

177

CHAPTER

PROGRAM ANALYSIS

8.1. Spatial Program 8.2.Space Matrix 8.3. Spatial Relations 8.4. Bubble Diagram

7.1. SPATIAL PROGRAM WALKING / JOGGING / CYCLING 300 m2

RESTAURANTS

270 m2

CAFES/ BARS

400 m2 TEMPORARY EXHIBITION LIBRARY PARK PLAYGROUND PLAZA 200 m2

TOILETS

250 m2

SECUIRITY ROOMS

250 m2

RECEPTION/ INFO DESK

320 m

RETAIL SHOPS KITCHEN WASTE ROOMS

150 m2 200 m2

OBSERVATION DECK PARKING AUDITORIUM STORAGE

300 m2

COURTYARD LOADING DOCK 180

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800 m2

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Public Services

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320 m2

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7.3. SPATIAL RELATIONS

PRIVATE 15%

SEMI-PUBLIC 30%

PUBLIC 55%

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7.4. BUBBLE DIAGRAM OFFICE OFFICE LIBRARY CAFE

RETAIL

RETAIL PUBLIC PLAZA

CAFE RECEPTION RESTAURANT PARK

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RETAIL CAFE CIRCULATION TRACK

RETAIL

CAFE

OBSERVATORY DECK OFFICE

RESTAURANT RETAIL CAFE

OFFICE OFFICE

PLAYGROUND

AUDITORIUM BACKSTAGE

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CHAPTER

186

SITE ANALYSIS

8.1. Locating a Site 8.2. Transitional Sites 8.3. Prototype Area 8.4. Evolution of the Dubai Creek 8.5. Potential Sites 8.6. Judgement Criteria 8.7. On AlSatwa

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8.1. LOCATING A SITE 189

8.2. TRANSITIONAL SITES

Dubai is a city composed of several “development islands” and thus, this medley of developmets stiched together in the urban fabric of th city results in incoherent transitions between the typologies of the urban developments. The proposed site has to be located in Dubai’s transitional sites in order to stengthen the inhabitants’ understanding and mapping the city through the connections between its developmets. Which will eventually help the occupants’ retrieve their lost urban memory of Dubai.

AL QUOZ AL SUFOUH

JABAL ALI

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DUBAI CREEK

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8.3. PROTOTYPE AREA

Bur Dubai is the perfect area to initiate the design proposal’s objective. Bur Dubai area has been the starting point of Dubai’s urban growth and was Dubai’s nucleus at one point, and so it only seems relevant to start adding a new layer to Dubai from the same spot that it was “born” in. One of the main characteristics of Bur Dubai area is the region’s cultural richness due to its historic importance in Dubai’s history. Bur Dubai also has had a very diverse demographic along the past few years. This area is also regarded as a the governmental spine in the city , where most governmental institution are located. All in all, this area is very diverse, historical, and is vital to the city today and everyday and will always be relevant to the city. And so, Dubai Creek area is the perfect place to start adding a new layer to Dubai’s infrastructure.

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DUBAI CREEK AREA

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8.4. EVOLUTION OF DUBAI CREEK

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DENSITY OF DUBAI DIAGRAM 0.10/km2 1.0/km2 5.0/km2 10/km2 25/km2 50/km2 100/km2 250/km2 500/km2 1,000/km2 2,500/km2 5,000/km2 10,000/km2 25,000/km2 50,000/km2 75,000/km2 undefined

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POPULATION OF DUBAI DIAGRAM 1,000 inh 5,000 inh 10,000 inh 20,000 inh 50,000 inh

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POTENTIAL SITES

AL GHUBAIBA

AL MINA

AL HUDAIBA

AL SATWA

ZAâ&#x20AC;&#x2122;ABEEL

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199

SITE A

LOCATION: AL GHUBAIBA AREA: 6,700 sqm

200

201

SITE B

LOCATION: AL MINA AREA: 23,300 sqm

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203

SITE C

LOCATION: AL HUDAIBA AREA: 15,800 sqm

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205

SITE D

LOCATION: AL SATWA AREA: 9,900 sqm

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207

SITE E

LOCATION: ZAABEEL/ TRADE CENTER AREA: 38,470 sqm

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209

LOCATION IN THE HEART OF THE CITY It is important to be close to the city’s main attractions in order to reinforce the city’s collective and urban memory, and to allow more public activities to occur in the urban fabric. METRO/ BUS LINKS Bus or metro access will allow the sites to be accessible to all social classes , age groups, and layers of the community

PEDESTRIAN ACCESS It is important to reinforcing pedestrian accessibility and walkability in Dubai. As the sites have to be connected through human movement and activity.

VEHICULAR ACCESS One cannot deny Dubai’s dependance on cars, and so it is important to have a good connection to roads in order to reach out to as many people as possible

SCALE The sites have to be sensible to human scale and allow movement in a big city like Dubai.

AN URBAN GAP One important characteristic is that the sites have to be an ambiguous transitional gap between two developments.

PROXIMITY TO URBAN ACTIVITY A mix of various urban activities happening around each site will give added value to the site and allow it to be more reachable to the public.

DEMOGRAPHIC DIVERSITY The sites should aim to bring together people of different incomes, social class, ethnic groups, and different races come together to meet ,relax, and enjoy. 210

JUDGEMENT CRITERIA

I. Location in the heart of the city

II. Metro/ bus links

III. Pedestrian access

IV. Vehicular Access

V. Scale

VI. Urban gap

VII. Proximity to urban activities

VII. Demographic diversity

211

2.70 km² 14,027

/km²

37,872 40,000

30,000

20,000

10,000

212

0 2011

2012

2013

2014

2015

... ON AL SATWA

m PLOT AREA= 9,900 SQM

45 m

22 0

213

214

215

216

URBAN REALITIES IN AL SATWA Informal Public Spaces

217

218

219

220

221

PEDESTRIAN ACCESS

222

ROAD ACCESS

METRO STATIONS

223

BUS STOPS

VEGETATION

224

SITE DENSITY

LANDMARKS

225

LAND USE

WIND ANALYSIS

ANNUAL AVERAGE

226

JANUARY

MARCH

MAY

JULY

SEPTEMBER

NOVEMBER

SUN PATH ANALYSIS

WINTER SOLAR PATH

SUMMER SOLAR PATH 227

CHAPTER

CONCEPT DESIGN PROPOSALS

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THE PROPOSAL The design proposal will mainly be a selection of different urban public spaces scattered around the prototype area in order to create an impulse to explore different parts of the city. The proposal mainly focuses on adding a layer to Dubaiâ&#x20AC;&#x2122;s infrastructure that will be facilitating the perception of connections and links in the city rather than the fragments experienced in a vehicle. Drawing and mapping these connections in our brains will eventually reinforce the memory of the city . The design has to be sensitive to the urban surroundings, the architectural scale of the site and the urban scale of all the site interacting with one another.

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9.1 INSPIRATION AND IDEAS

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9.2. CONCEPT PROPOSAL 1

Inspired by the patterns of the nerve cellsâ&#x20AC;&#x2122; synapses, this model was an abstraction of the masses and voids in between the cells. Taking it to an architectural level,the concept of this proposal revolves around porosity. A play in negative and positive spaces around the site does not distort the visual connection of the surrounding and be sensible to the site and the urban context of the site.

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CONCEPT PROPOSAL 1 PROCESS

The process starts with a rectangular prism that (using melting in this case) was deformed in order to stretch its corners to make them look like theyre growing from the ground and make its center thinner. After that, more voids are added to make the structure seem less bulky and to create more of the perforation like voids in the body.

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9.3. CONCEPT PROPOSAL 2

Inspired by the patterns of the nerve cellsâ&#x20AC;&#x2122; synapses, this model was an abstraction of the connections between the cells. The main idea behind this concept proposal is to create a structure that spreads out in all directions in order to connect with different parts of the city and to blends in with the ground so as not to create a disruption of the visual perception of the city.

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CONCEPT PROPOSAL 2 PROCESS

LAYER 3

To create a directional movement

LAYER 2

To add “open spaces”

LAYER 1

To function as a space growing from the ground plane

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Through layering and overlapping different sheets of mesh ,a hierarchy and complete dissipation into the ground plane is achieved.

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9.4. CONCEPT PROPOSAL 3

The concept of this design proposal was first discovered through observing glue splatter patterns. These patterns matched 3 characteristics of the project : lightweight, translucence, and extroversion. And so, the proposal has different elevations of the web-like structures that create different experience on site , but at the same time are inviting the observer to go and discover where it continues.

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CONCEPT PROPOSAL 3 PROCESS

Rhisome structure - connecting different “nodes”

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Experimenting patterns with glue

Differen

Different glue patterns at different levels

Making the overlain patterns more etroverted

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9.5.A. CONCEPT PROPOSAL 4 - VARIATION A

The main form of this concept proposal was mainly derived from fractal patterns in nature which seem to appear at different scales. - like the leaf structure whose cellular pattern is a smaller scale of its branch pattern. And so, tihis idea seemed relevant as the project has to be perceivd at an architectural scale and at an urban scale in order to draw the conncetions in the urban facric. In this variation the loop symbolizes an inf inite circulation around the protytype area and ideally the city too.

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9.5.B. CONCEPT PROPOSAL 4 - VARIATION B

Like the concept proposal above, the concept of this proposal is mainly focusing on the interaction between the perception of the architectural and the urban scale . In this variation, the linear elements that seem to be emerging from the ground, give a sense of direction encouraging the visitors to scatter around the city and to connect the different parts of the city.

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9.6. CONCEPT PROPOSAL 5

This concept proposal is a hybrid between the idea of linear ribbons that dissolve into the ground with the idea of having a centroid that makes the space extroverted and introverted at the same time. Moreover, the ribbon elements allows the structure to be flexible and have a smooth blend with the surroundings, thus, making the visitors more aware of their surroundings.

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CONCEPT PROPOSAL 5 PROCESS

Linear ribbons - giving a sense of direction

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Linear ribbons - scattered

Linear Ribbons of different thicknesses that are directionally scattering

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List of Figures

http://www.thedrawingsuite.com/emma-mcnally8.htm

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http://gottesman.pressible.org/refman/library-servicesspring-2016-towards-a-theater-of-memory

https://www.flickr.com/photos emmamcnally/4274122718/in/photostream

https://agenda.parisphoto.com/detail,france_augmentee__thibault_brunet_ fred_delangle_marc_lathuilliere_michel_le_belhomme_robin_lopvet_ eric_tabuchi_corinne_vionnet.htm?zoom=B2EE6234-1225-9161-F22ADCFBAB3A23FF

https://www.artsy.net/artist/corinne-vionnet

https://www.npr.org/sections/13.7/2013/02/11/171578224/ of-rats-and-men-edward-c-tolman

http://www.thegundgallery.org/2011/10/emma-mcnally/

http://www.cs.rug.nl/svcg/Shapes/KDEEB

https://unsplash.com/photos/g-LrCv5yS0I

https://en.wikipedia.org/wiki/Defensive_wall

https://www.artsy.net/artist/corinne-vionnet

https://www.tabletmag.com/jewish-arts-and-culture/230085/memorials-yomhashoah

List of Figures

h tt p s : //www. a fa r.co m /p l a ce s /m e m o ri a l - to - t h e murdered-jews-of-europe-berlin

https://www.cambridge.org/core/books/war-beyondwords/geometry-of-memory-horizontality-and-warmemorials-in-the-twentieth-century-and-after/492102 9A543D95F934A2A63EF9264B1E

https://www.dezeen.com/2013/01/19/light-pavilion-bylebbeus-woods-at-sliced-porosity-block/

https://lebbeuswoods.wordpress.com/2011/02/15/a-space-of-light-2/

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https://www.mimoa.eu/projects/Switzerland/Vals/Therme%20Vals/

https://perkinswill.com/sites/default/files/PWRJ_Vol0802_03.pdf

https://hiveminer.com/Tags/highway%2Cuae

Nassar, Ahmed K., et al. “Developing the Desert: The Pace and Process of Urban Growth in Dubai.” Computers, Environment and Urban Systems, vol. 45, 2014, pp. 50–62

Elessawy, Fayez M. “The Boom: Population and Urban Growth of Dubai City.” Horizons in Humanities and Social Sciences: An International Refereed Journal, vol. 2, no. 2, 2017

https://wall.alphacoders.com/big.php?i=568357&lang=Swedish

-https://www.dp.ae/our-portfolio/destinations/38/business-bay/

https://www.emaar.com/en/what-we-do/communities/uae/downtown-dubai/

https://dubaiapartment.com/area/jumeirah-lake-towers/

https://www.picturesboss.com/pictures/twitter-fintechnews-difc-dubaifintech-pictures-e4.html

List of Figures

https://www.flickr.com/photos/almsaeed/6420101151

-http://www.dubailocksmith.ae/dubai-festival-citylocksmith.html\

http://www.thinkstockphotos.co.uk/image/stockphoto-the-palm-jumeirah-view/4808145

https://www.nakheel.com/en/leasing/international-city

https://www.skyscrapercity.com/showthread.php?p=124840091

https://unsplash.com/collections/1141763/glow-aesthetic

https://www.flickr.com/photos/picket99/42630682192/

https://www.alamy.com/stock-photo/al-bastakiya.html

https: //www.milujemefotograf ii.cz/zachy tte -ve fotografii-pohybujici-se-mesto-jeho-ruch

Nassar, Ahmed K., et al. “Developing the Desert: The Pace and Process of Urban Growth in Dubai.” Computers, Environment and Urban Systems, vol. 45, 2014, pp. 50–62

https://www.thenational.ae/uae/transport/names-of-moredubai-metro-stations-to-be-sold-1.303203

https://www.ladyandhersweetescapes.com/2014/04/old-dubai-do-it-yourselfwalking-tour.html

https://www.visitdubai.com/en/travel-planning/itineraries/shopping-scene-indubai

https://www.westgatedubai.com/property/land-commercial-rent-salah-al-dinstreet/

https://www.agoda.com/en-sg/jumeirah-dar-al-masyaf-madinat-jumeirah/ hotel/dubai-ae.html?cid=-218

https://en.wikipedia.org/wiki/Atlantis_The_Palm,_Dubai

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https://www.gettyimages.fr/photos duba%C3%AF?sort=mostpopular&mediatype=photography&phrase= duba%C3%AF

http://www.emiratesnews247.com/dubai-investment-in-roads-transporttouches-dh100bn/

Elsheshtawy, Yasser Dubai : behind an urban spectacle. Routledge, New York, 2010.

http://www.danslefleuve.com/20170627071119_dubai-water-canalboardwalk-parking/

https://itisallaboutdubai.com/2016/06/10/palm-jumeirah/

https://squarenet.ae/project/dubai-academic-city/

http://tecomgroup.ae/communitites-2/

https://www.gettyimages.ca/detail/photo/dubaisheikh-zayed-rd-traffic-and-new-high-high-res-stockphotography/719881551

Elsheshtawy, Yasser Dubai : behind an urban spectacle. Routledge, New York, 2010.

https://www.ladyandhersweetescapes.com/2014/04/old-dubai-do-it-yourselfwalking-tour.html

http://www.frac-centre.fr/index-des-auteurs/rub/rubprojets-64. html?authID=192&ensembleID=599&oeuvreID=3069

https://commons.mtholyoke.edu/architectualblog/2015/12/12/parc-de-lavillette-bernard-tschumi/

https://www.flickr.com/photos/zagreusfm/5726540935

https://twitter.com/PaulaSucarrats/status/839240397083852800

https://www.archdaily.com/286381/beton-hala-waterfrontcenter-sou-fujimoto-architects/d-final-04_night %25e4%25bf%25ae%25e6%25ad%25a33

https: //www. archdaily.com/286381/beton-halawaterfront-center-sou-fujimoto-architects/panel-01-ai

https://www.archdaily.com/286381/beton-hala-waterfront-centersou-fujimoto-architects/site-key-report-ai

https://www.archdaily.com/286381/beton-hala-waterfront-center-soufujimoto-architects/20111015-mcd-3

https://www.archdaily.com/286381/beton-hala-waterfront-centersou-fujimoto-architects/20111015-mcd-2

https://www.archdaily.com/286381/beton-hala-waterfront-centersou-fujimoto-architects/20111015-mcd

https://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-sbridge-park/543f95bbc07a802a6900035f-oma-olin-win-competition-for-d-cs-bridge-park-photo

https://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-sbridge-park/543f9594c07a801fe70003b3-oma-olin-win-competition-for-d-c-sbridge-park-photo

https://www.archdaily.com/557944/oma-olin-win-competitionfor-d-c-s-bridge-park/543f9249c07a802a6900035c-oma-olinwin-competition-for-d-c-s-bridge-park-photo

https://www.archdaily.com/557944/omaolin-win-competition-for-d-c-s-bridgepark/543f9693c07a80762d00033f-oma-olin-win-competitionfor-d-c-s-bridge-park-photo

https://www.archdaily.com/557944/oma olin-win-competitionfor-d-c-s-bridge-park/543f9670c07a80762d00033e-oma-olin win-competition-for-d-c-s-bridge-park-photo

https://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-sbridge-park/543f96f8c07a80762d000340-oma-olin-win-competition-for-d-cs-bridge-park-photo

https://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-sbridge-park/543f907bc07a80762d000338-oma-olin-win-competition-for-d-cs-bridge-park-photo

https://www.archdaily.com/557944/oma-olin-win-competition-for-d-c-sbridge-park/543f8ec5c07a801fe70003b1-oma-olin-win-competition-for-d-c-sbridge-park-photo

https://www.artsy.net/artist/corinne-vionnet

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http://66.media.tumblr.com/4b3d94f775d19e82d0957d78f73a9a63/ tumblr_msxjalfVDQ1rfeq0eo3_1280.jpg

http://peonyandbee.tumblr.com/post/99807270904

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