Interview with Desypher

An interview with Issam Nabulsi and Khalid Bouden, directors of Desypher Architecture

building communities under the themes of approachability, participation and inculcating respect

by Kenan Šurković, Art historian

www.desypher.com.au The photos in this article are copywritten. © Desypher

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Issam NABULSI B.Arch (Melbourne) / Director

Issam is the founding Director of DESYPHER. He graduated with a Bachelor of Architecture from the University of Melbourne 1990 before working under Andrew Kings (Melbourne) and under Rasem Badran (Amman, Jordan).

He established his practice upon his return from Jordan in 1993 and has since developed a specific interest in projects that demonstrate community and cultural benefits. He now heads the branch office in Dubai with the aim of extending Desypher’s scope internationally.

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Khalid BOUDEN B.Arch (Deakin) / Design Director

Khalid is the Design Director of DESYPHER. He joined the practice in 2002 whilst completing his degree at Deakin University, Geelong, Australia. After graduating with a Bachelor (Hons) in Architecture in 2005, Khalid worked in Dubai for one year before rejoining the practice in 2007.

Armed with extensive exposure and experience obtained during his overseas ventures, he has been integral in developing the firm to its current position.

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Desypher is a Melbourne based design office with associated offices in Kuala Lumpur and Dubai, run by Issam Nabulsi, the founding Director and Khalid Bouden, the Design Director.

Assalamu alaikum Issam and Khalid. Can you describe your working experience in Australia and how you get to work on such wonderful projects? Are you entering competitions or being commissioned directly?

Are there any issues in the non-Muslim community when it comes to building Islamic architecture in Australia?

IN: Wa alaykum salam. Khalid and I always remind ourselves of how fortunate we are to be working on as you describe “wonderful projects�. Sometimes in the midst of contract variations and struggles with builders and clients we do lose sight of that. It is truly a gifted opportunity from Allah that we are able to serve in this way.

Three years ago we made a pledge to each other that we needed to be more idealistic in our approach to how Muslim communities were responding in a western context.

We committed to be proactive in challenging stereotypical thinking both from Muslim and non-Muslim communities as to who -298-

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University of Melbourne Islamic Prayer Facility, Pelham Street, Carlton (2009) Client: University of Melbourne

Muslims are and what their role is.

This has had traction amongst the community and has helped us to win over specific clients.

KB: Competitions give us the opportunity to demonstrate how an Islamic design philosophy can be applied to the most unlikely projects. For example, our entry for the Holocaust Memorial Pavilion in Atlantic City probably raises eyebrows. However, we see it as Islamic in that it actually involved a lot of research into the idea of sin, repentance, forgiveness and making a firm resolve to prevent that sin from being committed again.

These are concepts at the core of Islamic inner development. It also allowed us to address the imbalance in recognising other genocides that have been and continue to be committed. In that way our design for the Memorial is more inclusive and maintains its relevancy with today’s affected peoples.

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IN: Issues stemming from the non-Muslim community are usually self-inflicted. One masjid with which we were involved attracted 80 objections from neighbours.

When I asked the masjid committee what interaction they had had with the the petitioners, they replied none...

And so there is this building up of frustrations over time due to a lack of communication and without channels to express and deal with issues. The best design can come to nought if it is not backed by meaningful and respectful dealings.

One problem is with the term ‘Islamic Architecture’. When various groups of Muslim migrants settled in Australia, one of the first public contributions they would make is to build a masjid.

The outcome was usually postcard architecture with poor imitations of styles developed in their countries of origin.

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No regard was given to local builiding techniques, regional climate or the inherent message that was being communicated. An imitation Ottoman mosque in suburban Melbourne, although impressive in size and monumentality, effectively does three things; it erects a barrier preventing easy approach from non- Muslims, it reinforces a division of the Muslim community -302-

University of Melbourne Islamic Prayer Facility, Pelham Street, Carlton (2009), Client: University of Melbourne

into ethnic groups by adopting the style of a particular foreign region, and it reinforces in Muslims that we were great – historically – but our relevance today is questionable.

This cannot be Islamic Architecture.

munities under the themes of approachability, participation and inculcating respect.” Can you explain how this defines your work and can you tell us more about your past and current projects?

You describe your vision as being “to advance the establishment of community based infrastructure as a means of building com-

IN: Seeking approval from planning authorities for anything Islamic is problematic because objections from local residents are

automatic. As a result, one worrying trend is that instead of dealing with the root cause, Muslim communities are proposing new centres in industrial areas, detaching themselves from themselves and from any potential for engagement with the wider community.

When one asks why, the answer usually lays in the way Muslim communities perceive themselves.

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University of Melbourne Islamic Prayer Facility, Pelham Street, Carlton (2009) Client: University of Melbourne

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In Australia, it has only been recently that Muslims have began to realise the benefits of opening up their centres with mosque-tours, festivals etc.

At Desypher, we have pushed that thinking even further with the idea that Muslim communities really need to do more in terms of contributing social capital to the wider community, either in the form of services or shared infrastructure.

Traditionally, wherever Muslims went they were contributors.

If Islamic societies were to propose facilities that were to the benefit of the wider community and back these up with sound management, I would imagine that the objections would diminish and over time, peoples of all backgrounds would welcome Islamic developments. A multipurpose hall that can be hired out for sporting or conference functions, a gymnasium, a medical centre, a kindergarten, shops, community kitchens, etc. should form an integral part of any brief.

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Proposal for Canberra Islamic Centre (2009). Client: Canberra Islamic Centre

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We committed to be proactive in challenging stereotypical thinking both from Muslim and non-Muslim communities as to who Muslims are and their role.

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Proposal for Canberra Islamic Centre (2009) Client: Canberra Islamic Centre

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Proposal for Canberra Islamic Centre (2009) Client: Canberra Islamic Centre

rience and the idea of experience and interaction – with a focus on interactive exhibits and hands on art and craft workshops is integral.

We wanted visitors to take away a memorable experience that challenged their media-defined perceptions of Islam. What we attempt to achieve with all our work is a degree of sophistication and depth so that the result is not one dimensional but integrates a raft of principles both physical and social.

How would you define contemporary Islamic architecture?

IN: I don’t think Islamic architecKB: Our mission is to design buildings that are contextual, that fit in within their physical and social climate. And then we challenge clients to come up with a good brief that always has at least one aspect of wider community engagement. Our designs for Islamic centres appear more like community precincts with forms that are -310-

not uncommon in their context.

The proposal for the Canberra Islamic Centre has as an integral component a Sunday Market that would provide an opportunity for participation (Muslim or not) and, through mu‘amalah (good dealings), a potential for inculcating a deeper understanding by bringing Islam to life.

IN: Proposing challenges that require commitment is also one cornerstone of our design for the Islamic Museum. Outwardly it is not iconic, but there are elements that hint of activity and delight inviting a visitor to enter. The idea of intrigue encouraging approachability, of being able to explore through a gradual unravelling of the expe-

ture is a particular style. My view is that an Islamic architecture has to be first and foremost practical.

This practicality would take into account the climate, the purpose of use, the intrinsic nature of available materials, and the skill set of building craftsmen.

KB: Forms and symbolism can develop from that base to enhance -311-

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the function but not to diminish it.

When we look back historically, at each juncture during the heights of Islamic history, the architecture was at its most contemporary, pushing material to the limit and incorporating a host of cutting edge techniques. It’s ironic that we even attempt to mimic that in the modern context; Sinan himself would ridicule us.

There is a sea of Islamic design principles with which we are still learning. What we do know is that they are as relevant today as they were then and are also applicable to secular buildings. They can be applied to all peoples, – Muslim or non-Muslim, in all regions.

In your projects we can see that interior decorating is moving away from classical forms and typologies. Can you tell us more about that?

oped principles in Islamic design and do not slavishly adhere to how these principles were expressed in days past. Instead, we first try to identify materials that are robust and will stand the test of time, then ask ourselves what expression is appropriate with this material and the available building techniques that allow us to communicate an Islamic design principle. The principle of continuous space, for instance, is one we love to implement in many of our projects.

For instance, at the University of Melbourne Prayer Facility, we implemented a layering of patterns for the qiblah wall. I believe we achieved a similar result that a traditional tessellated tile treatment would have achieved but in a modern material – a blurring of confines of the space enabling a worshipper to perceive beyond the physical.

KB: We look at traditionally devel-

How do you see today’s contem-

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porary trends and in what direction should Islamic architecture develop? What do you think about faceless glass facades, have they won?

IN: The worrying trend stems out of internationalisation which has really become homogenous: the one size fits all approach. I am in Dubai at the moment, and sure you can air condition a glass tower in the desert but should you? There is a moral sustainability issue and a waste issue about which there are clear injunctions in the Quran.

KB: Green, sustainable, open, cutting edge, engaging and flexibility are words that come to mind.

Do you think that today Islamic architecture follows the continuity of its historic legacy?

IN: I maintain that Islamic architecture’s first historical legacy

was practicality. And from this, depending on the region, various techniques developed or were adopted that then developed spiritual meaning. For instance, the dome was a device that could achieve the greatest column free span suiting the function of the congregational masjid where rows of worshippers were minimally interrupted. Looking up to its surface from within, one can see how it came to symbolise the vastness of the cosmos with you as the geometric node or subject.

At the same time, it allowed hot air to exhaust through its clerestory windows... See what I mean, these things are inextricably linked.

If there were a modern day form that achieved all this and more, then we would use it. In a way, the historic legacy of form is nonsense but the historic legacy of practicality and symbolic meaning is applicable in all times and for all cultures.

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Description for Holocaust Memorial

by Desypher

Competition entry for Atlantic City Boardwalk Holocaust Memorial 2010

Many would be surprised to learn that Desypher submitted an entry for a Holocaust Memorial Competition.

The intention was to throw up a number of challenges in the mindsets of those of Jewish and nonJewish backgrounds. Our contention was to firstly recognize that horrific events like the Holocaust should be remembered. We also wanted to challenge the notion of the Holocaust being the exclusive genocidal event which by default lessens recognition of all other genocides committed against a host of peoples.

Secondly we sought to demonstrate the cycle in which the victim can easily finds him or herself to be the innocent bystander, the perpetrator, the victims or the ethicist.

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Our Atlantic City Boardwalk Holocaust Memorial design represents an overlaying of two ongoing processes; 1. An examination of genocide – past, present and future; and the basic required responses to any genocide - acknowledgement, repentance and intervention.

2. The creation of a stage-set made up of spatial installations that invite those that frequent the boardwalk to experience various roles: • The ‘Innocent Bystander’ sees

Entry for Holocaust Memorial Competition (2010) Client: ACBHM

and hears from a distance but may elect to walk on.

til too confronted by victim’s vulnerability at arm’s reach

• ‘The Naiveté’ unsuspectingly wanders into the path that is the victim – the endpoint obscured by each turn until the path converges as a “plank” – and he/she is left standing alone under the domineering gaze of the perpetrators

• ‘The Ethicist’ driven by higher consciousness rises the stair and sees all in perspective; enabling reflection and resolution for change and intervention, a trail of moist footsteps from whence he came leaving an evaporating trail.

• ‘The Egotist’ seduced by the glitz and cliché of the propaganda wall.

Embarks upon a more deliberate path that widens as support is collected, peripheral view blinkered, fortified by heartless post mobs un-

Our entry drew upon consequences of genocides throughout history of mankind, and the message of peace and mercy, in moving forward. Perhaps understandably, it did not make it to the final selection.

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Entry for Holocaust Memorial Competition (2010) Client: ACBHM

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Entry for Holocaust Memorial Competition (2010) Client: ACBHM

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Islamic Museum of Australia

by Desypher

Location: Melbourne, Australia, approximately 10 km north of the city centre.

Site: Located in light industrial zone with factories/workshops adjacent, rear of site abuts the Merri Creek and bicycle path.

Budget: Approximately $4.5 million.

Design Statement: We discussed at length with our client the role of such a museum in an Australian context. Namely, exposing nonMuslims and in particular students to the deeper dimensions of Islamic belief, culture and civilisation.

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Islamic Museum of Australia - view from the street

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IAM 07 I Desypher Islamic Museum of Australia view from interactive garden back towards function room

In this context four various broad ranging areas were nominated to be showcased; Muslim Beliefs and Practices, Islamic Heritage in Australia, Art and Architecture, and Contributions to Civilisation.

The design is basically built around the idea of an ‘Islamic Exploratorium’ It is envisaged as a vanguard of interactive and participatory experiences. The mission being to create a culture of awareness and understanding through innovative environments, programs and tools that help people nurture their curiosity about Islam.

The main aims of the ‘Islamic exploratorium’ are: • Preservation of significant artefacts, • Education of non-Muslims and Muslims regarding the essence of Islam and the positive contributions Islamic civilisation has made to humanity, -322-

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• Recreation, in terms of an enjoyable and engaging interactive experiences directed towards adults and children.

The design of the Islamic Museum of Australia aims to challenge ideas of what and how an Islamic museum in Australia should be.

It appears with few iconic Islamic elements - rather the facade is an austere composition of rusted steel panels and woven mesh. This sublimeness makes for a compelling prequel for the gradual unravelling of the rich experience within.

The native treetops extending above the roofline from within and the silhouettes of movement behind screens all point to ‘something going on in there’ beyond the veil and the hijab of the exterior.

Interestingly the design of the entry and the process of entering are steeped in traditional principles.

The first challenge is to accept by entering; through a darkened passage one turns and reorientates into a space flooded with light.

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Islamic Museum of Australia - view from the atrette across billabong and reception

Beyond the billabong can be seen the museum and its happenings. To get there a bridge must be crossed. The design of the entry process is all about taking the dare and leaving behind entrenched stereotypes, being prepared to take on the experience, and to explore through hands on interaction.

The first stop for groups is the

theatrette for a introductory welcome that includes demonstrating the billabong as a working exhibit. A natural perfumed climate controller.

Then the group is divided and invited to take alternate routes through the exhibits that they may take away a different experience, but more importantly so

that the return journey would be as engaging.

From the outset we were determined that the galleries would be interactive, not just an array of touch screens but real working exhibits as characterised by some of the better museums around the world like the Exploratorium in San Francisco or the Museum of Natu-325-

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Islamic Museum of Australia - view across galleries

ral. History in New York and recently to a degree by the ‘1001 Inventions’ touring exhibition.

The galleries themselves are blank canvases, ready for the exhibit designer to go to work – whether permanent, visiting, interactive or controlled climate. A meandering path linking levels or crossing itself allows the groups to come into contact occasionally.

The journey is punctuated by the garden which backs onto the Merri Creek. It serves not only as an ideal circuit breaker perhaps for lunch and reflection but also as an interface with the walking and bike path that parallels the Creek.

John Citizen may be tempted to wander in for a Turkish coffee and a samosa.

The garden is also themed on interactivity. Working installations such as a water clock, a distillation cauldron and in this case a sundial where the person is the actual dial adds to the overall experience.

The return journey will include meeting the artist in residence and participating in one of a number of creative workshops; mosaics, creating tessellations, calligraphy or even calligraffiti on the dedicated wall in the garden.

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