ME Architect - March 2010 by ITP Business Publishing

An ITP Business Publication | Licensed by Dubai Media City

MARCH 2010 | VOLUME 4 | ISSUE 3

NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC

MARCH 2010 | VOLUME 4 | ISSUE 3

MODERN N MASHRABIYA KEO releases es designs for Doha’s mixed use development evelopment at Lusail

NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC

A look at projects from some of the region’s most promising young architecture students

An ITP Business Publication

SHARING KNOWLEDGE

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CONTENTS MARCH

MARCH 2010 VOLUME 4 ISSUE 3 17

02 WHAT’S ON THE WEB

MEA keeps you in touch with the latest news from the industry with a synopsis of Construction Week online

07 INDUSTRY HIGHLIGHTS 13 GREEN PAGE: RESPONSIBLE SOCIETY

A roundup of some of the industry’s biggest stories

A new Riyadh-based organisation offering green analysis and recommendations for the building industry

14 COMMENT: DR ALAA MANDOUR

Alaa Mandour speaks candidly about universities, students and architectural education in the GCC

17 COVER STORY: KNOWLEDGE SHARING

MEA offers a showcase of work from some of the GCC’s most inspired and talented student architects

31 CASE STUDY: LUSAIL MIXED USE PROJECT KEO unveils its exclusive designs for its new mixed use development on the Lusail site in Doha, Qatar

36 FEATURE: TOP OF THE GLASS

MEA explores architectural glass in the Gulf to find out who, what, where, why and how much

40 PROJECT SHOWCASE: RIYADH

Bringing you the richness of Riyadh-based projects from Dewan, FXFOWLE, Woods Bagot and TYPSA

44 SKETCHBOOK

An exclusive look at Dewan’s designs for renovating the surroundings of Baghdad’s Al Kadimiya district

47 LAST WORD: STEVE MASLIN

Stride Treglown’s inclusive design expert explains the importance of designing for everyone, and their needs

www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT

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ONLINE

the online home of:

IN PICTURES

MOST POPULAR

• EXCLUSIVE: Lead consultant

leaves Dubai’s City of Arabia

• KSA rail project on track • 28 ways to achieve LEED platinum • Back to green For breaking news, go to: www.constructionweekonline.com/news/ Stories selected February 18-22, 2010

THE SKETCHBOOK: AL KADHIMIYA After months of research, design and stifling bureaucracy, Dewan Architects & Engineers has won a competition to develop the area surrounding the holy shrines in Al Kadhimiya, Baghdad, Iraq.

ZAHA IN BAHRAIN

Iraqi architect Zaha Hadid is planning to host an exhibition of her practice’s ‘exploration and research’ at the Shaikh Ebrahim bin Mohammed Al Khalifa Center for Culture and Research, in Bahrain, from March 15 to April 30.

OUT OF SIGHT

Facilities management mainstay, Alan Millin (MSc. CEng FIHEEM), gets up close and personal with an issue that, for most people, is up close and personal. Millin makes a pretty good point about why FMs need a voice during design.

SIX OF THE BEST: AIRPORT PROJECTS

With ongoing infrastructure projects keeping the architecture and construction industries afloat, ConstructionWeekOnline takes a look at six of the Middle East’s most important airport projects.

For more columns & features, go to: www.constructionweekonline.com/comments

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developed

Abu Dhabi government

COLUMNS & FEATURES After spending eight years enhancing the UAE’s built environments, Claude Berube has moved to Malaysia to concentrate on his other passion: nanotechnology. CID finds out more about this fixture on the interior design scene.

• 28 ways to achieve LEED platinum • Garbage powered street lamp • Aldar sells Yas Island assets to

For more galleries, check out: www.constructionweekonline.com/in_pictures/

THE NANO MAN

EDITOR’S CHOICE

MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com

• Architectural lighting part II • Are you sitting comfortably? • Colourful Kingfisher Stories selected February 18-22, 2010

SPOT POLL: Is your organisation renegotiating its contracts?

66% 16% 16% 0%

Yes, we were forced to Yes, it’s great No, we dodged the bullet No way, never

To vote in spot polls, go to: www.constructionweekonline.com Spot poll selected from February 18, 2010

EDITOR’S LETTER

GOOD NIGHT & GOOD LUCK Registered at Dubai Media City PO Box 500024, Dubai, UAE Tel: 00 971 4 210 8000 Fax: 00 971 4 210 8080 Web: www.itp.com Offices in Dubai & London ITP BUSINESS PUBLISHING CEO Walid Akawi Managing Director Neil Davies Deputy Managing Director Matthew Southwell Editorial Director David Ingham VP Sales Wayne Lowery Publishing Director Jason Bowman EDITORIAL Senior Group Editor Stuart Matthews Group Editor Jeff Roberts Tel: +971 4 435 6269 email: jeff.roberts@itp.com ADVERTISING Publishing Director Jason Bowman Tel: +971 4 435 6344 Commercial Director Raz Islam Tel: +971 4 435 6371 email: raz.islam@itp.com Sales Manager Carolyn Lewis Tel: +971 4 435 6184 email: carolyn.lewis@itp.com STUDIO Group Art Editor Daniel Prescott Art Editor Simon Cobon PHOTOGRAPHY Director of Photography Sevag Davidian Chief Photographer Khatuna Khutsishvili Senior Photographers G-nie Arambulo, Efraim Evidor, Thanos Lazopoulos Staff Photographers Isidora Bojovic, George Dipin, Lyubov Galushko, Jovana Obradovic, Ruel Pableo, Rajesh Raghav PRODUCTION & DISTRIBUTION Group Production Manager Kyle Smith Production Coordinator Louise Schreiber Distribution Manager Karima Ashwell Distribution Executive Nada Al Alami CIRCULATION Head of Database & Circulation Gaurav Gulati MARKETING Head of Marketing Daniel Fewtrell ITP DIGITAL Director Peter Conmy Internet Applications Manager Mohammed Affan Internet Design Manager Hitesh Uchil Web Designer Meghna Rao ITP GROUP Chairman Andrew Neil Managing Director Robert Serafin Finance Director Toby Jay Spencer-Davies Board of Directors K M Jamieson, Mike Bayman, Walid Akawi, Neil Davies, Rob Corder, Mary Serafin Circulation Customer Service Tel: +971 4 435 6000 Certain images in this issue are available for purchase. Please contact itpimages@itp.com for further details or visit www.itpimages.com

wo and a half years ago, I arrived in Dubai filled with equal parts trepidation, anticipation and ambition. My goal was simple – I even remember telling my boss on my first day – I wanted to create the best architecture publication in the Middle East. I wanted to write the most well read and well respected design magazine available in the region. Full stop. I had some competition from international publications that enjoyed sporadic distribution here, but when I arrived, there wasn’t an architecture magazine for the Gulf, about the Gulf. At the very least, there is one now. While I could probably write for hours about the successes, failures, trials and tribulations I’ve faced during my tenure, this last editor’s letter isn’t about me. Frankly, it’s not about Middle East Architect either. I’d like to spend this last column talking about the people. The professional relationships I’ve made through my association with ITP and Middle East Architect have been fantastic. During my time with MEA, I have met the Nouvels, Hadids, Gehrys, Peis and other ‘starchitects’, but I have no doubt that the structural and design professionals working in this region represent some of the most creative, intuitive and talented minds in the industry. I have tried my best to capture their knowledge and experience in these pages. Only they can say if I’ve done them justice. To my readers: Your comments, emails and phone calls have been welcomed and appreciated, and while they’ve not always been met with the most timely of responses, I have heard what you’ve said. I owe a significant portion of my development as a journalist and an editor to your feedback and for it, I thank you. I hope my successor will be able to experience the same level of candour. I would be remiss not to mention the advertisers. A B2B magazine is nothing without the financial support of the industry it serves. While I have always endeavoured to keep a very firm line between editorial and advertorial content – much to the chagrin of some of you! – I think we have always enjoyed a mutual appreciation of each other’s necessity. Whether it came during the annual awards, the conferences or in the magazine, your support has been invaluable and I am grateful that in MEA you saw something worth supporting. The last group of people that deserve recognition are my colleagues and co-workers. Whether you’re involved in design, production, sales, editorial or photography, you have helped make this magazine what it is. I know it goes unsaid too often but I simply could not have done this without you, all of you. As I embark on my next journey, I bring with me a little piece of Middle East Architect. I am both humbled and privileged to have been a part of it. So, as I sit at my desk in the final hours as MEA editor, I give to all of you the immortal words of Edward R Murrow: “Good night and good luck.”

Printed by Emirates Printing Press L.L.C. Dubai

Jeff Roberts, Group Editor

Subscribe online at www.itp.com/subscriptions

jeff.roberts@itp.com

The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessarily those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the reader’s particular circumstances. The ownership of trademarks is acknowledged. No part of this publication or any part of the contents thereof may be reproduced, stored in a retrieval system or transmitted in any form without the permission of the publishers in writing. An exemption is hereby granted for extracts used for the purpose of fair review.

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INDUSTRY HIGHLIGHTS

DEWAN CREATES WINNING CONCEPT DESIGN FOR BAGHDAD MUNICIPALITY BY JEFF ROBERTS BAGHDAD, IRAQ // After months of research, design and stifling bureaucracy, Dewan Architects & Engineers (Dewan), has won a competition to develop the area surrounding the holy shrines in Al Kadhimiya, Baghdad, Iraq. One of the Gulf’s leading architectural and engineering consulting firms, Dewan’s winning design was recognised by the Iraqi Prime Minister Mr. Noori

Al-Maliki at the Baghdad award-giving ceremony. Al-Maliki strongly iterated the importance of the conservation of religious tourism in Iraq and praised the initiative taken by Baghdad Municipality to preserve the heritage of Al Kadhimiya’s religious and historical significance. “The final design we submitted envisions the shrine as the innermost ‘kernel’ of the city,” explained Mohamed Al Assam, De-

wan founder, chairman and managing director. “[The shrine] is enveloped and protected by different urban layers that mediate between the interior and the exterior world and together form a coherent whole.” The main objective of the Dewan design was to highlight the importance of Al Kadhimiya as a unique district of Greater Baghdad, which is distinguished by the historic architecture of its streets and homes and flanked by

flourishing markets. The Baghdad jury acknowledged Dewan’s entry as the most comprehensive and aesthetically pleasing design while recognising its sensitivity to the district’s historical, cultural and social character. The mix of historic and adapted modern structures, combined with proper landscaping, was designed to provide an influx of social and economic robustness to Al Kadhimiya and the surrounding area.

“The strategic concern of our design was to find methods to adapt the area to contemporary demands without damaging the spiritual legacy contained in its surviving historic structures. The development needs to be manoeuvred in such a way that the place does not lose its ‘soul’,” concluded Al Assam. For a clearer picture of the Dewan design, check out the Sketchbook section (p. 44-45) in this issue.

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INDUSTRY HIGHLIGHTS

ALDAR SELLS YAS ISLAND ASSETS TO GOVERNMENT BY ED ATTWOOD ABU DHABI, UAE // Days after announcing a year-on-year 73% drop in earnings in 2009, developer Aldar has sold a number of key assets, including the Formula One Yas Marina Circuit, to the Abu Dhabi government. “This [the assets sale]

includes roads, utilities on the Yas Island, Yas Marina Circuit which is home to the Formula 1 race track, Yas Marina and the Yas Yacht Club,” CFO Shafqat Malek told Gulf News in mid-February. The sale was orchestrated to ease cashflow concerns and enable the developer to meet its debt commitments. In the

developer’s annual results, released in mid-February, Aldar revealed a last-quarter loss of US$ 155 million due to a failure to make any land sales. The news immediately sent the firm’s share to a 31week low. Aldar said that it was able to increase its net asset value by 3.9% to US$ 4.5 billion at

the end of 2009 while revenue for the year was just under US$ 545 million, compared to nearly US$ 1.4 billion the previous year, a fall of 60%. The decrease, the company said, was due to lower sale of land plots during 2009. Developments under construction were worth $4.9 billion at year end compared

to $6.3 billion as at the end of 2008, it added. Aldar said it continued to maintain its long term view on the strength of the Abu Dhabi real estate sector, adding that there was “a fundamental undersupply of quality commercial and residential products in Abu Dhabi”.

LEAD CONSULTANT LEAVES CITY OF ARABIA BY CONRAD EGBERT DUBAI, UAE // P&T Architects

& Engineers (P&T), the lead consultant working on the US $3 billion City of Arabia is no longer employed on the project, confirmed Middle East Architect in midFebruary. A source working on the project told Middle East

Architect that P&T had “left” the project. “[P&T] submitted their termination letter to the City of Arabia management on February 1,” said the source. When contacted, P&T declined to comment. But a spokesperson for Ilyas & Mustafa Galadari (IMG) Group, the developer behind the City of Arabia project confirmed that P&T

had been let go and that the consultancy contract is being renegotiated with two other consultancy firms. “[P&T] is no longer working for us and we’re currently looking to award the contract to someone else; work is still progressing though,” said Alex Vacha, director of projects for City of Arabia. According to Vacha, P&T’s

contract commanded “about 2%” of the total construction costs two year ago. With the market having corrected since then and construction costs falling by about 40%, the contract needed to be reassessed as well. “The market has fallen. Contracts – whether for construction or consultancy that were signed two years ago –

do not make sense anymore,” said Vacha. “We also feel that it is better to look for a fresh set of people in these situations, rather than renegotiate with the same people. We are currently in talks with two other consultancy firms.” Vacha also confirmed that the developer had already paid P&T approximately US$ 35.4 million.

www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT

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INDUSTRY HIGHLIGHTS

UAE LAUNCH PAD FOR DESIGNS BY SELINA DENMAN ABU DHABI, UAE // Taking place

in Abu Dhabi from March 29 to 31, Interiors UAE is promising to act as a regional launch pad for a number of new products. Portuguese company, Boca do Lobo, will use the exhibition to introduce two new furniture designs, Crochet and Monochrome. Crochet is a wooden chest of drawers featuring seven drawers and inspired by the traditional craft from which it gets its name. The process of pulling loops of yarn through other loops was reinterpreted by a local jeweller who forged 60kg of classic brass pulls. The result is a mesh that covers the silhouette of the piece. The chest is darkened by gold leaf, which contrasts with purple, jewelled handles.

The Monochrome stool bridges the frontier between design and art. It is a fluid and unusual form moulded from fibreglass and filled with expandable polyurethane. The piece is a reference to the use of a single material, with a uniform and high-gloss tone of electric blue. Italy’s Air Nova will also bring two new products to the show. The company, which specialises in the production of leather chairs for both the contract and retail markets, will introduce the Swarovskiencrusted Elettra, as well as Patchwork, which features a mix of different leathers in the same colours. The company will showcase a range of its armchairs, including the popular Aisha, along with consoles and chaise longues, on its stand. Air Nova supplied 650 of its Elisa chairs to Burj Khalifa.

UK-based soft furnishing and fabric designers, Soul Living, will also be unveiling a new product at the show, having decided to create a dedicated range for Interiors UAE. The range will be ‘overwhelmingly luxurious’ combining traditional and contemporary styles in an eclectic range of colours. Another UK-based company attending Interiors UAE is Yarwood Leather, one of the largest suppliers of leather to the UK furniture industry. The company, which is a firsttimer to the show, specialises in blending traditional skills and modern technology to create more comfortable, durable products. A number of other European companies have also confirmed their attendance, including Germany’s Faustig Kurt, best-known for breaking the world record for the

largest chandelier, created for the Abu Dhabi Mosque. Traditional European crafts will be presented by Spanish company, Virtus 1945, which creates bronze accessories using the antique technique of sand-testing. Its product offering includes table clocks, candelabras, mirrors, tables, vases, photo-frames and figurines. The exhibition will also include seminar sessions on ‘Colour Trends for the Interior Design Sector for Spring/ Summer 2011’, presented by London-based colour consultancy studio, Global Color Research, which will also be conducting interactive workshops at its stand. The seminars and workshops will educate interior designers, architects, retailers and product designers on colour trends for the coming few years, and will also work

with visitors to show them how to use colour trend information effectively and accurately. “Creative minds need to keep ahead of the game,” said Justine Fox, colour specialist and materials editor of Global Color Research’s Mix magazine. “Global Color Research would like to invite professionals to create the colours of the Middle East for 2012. “Every visitor to our stand at Interiors UAE will help create a colour palette applicable to the Middle Eastern market and the interior design sector. Because of the special characteristics of this market, global trends cannot be applied without considering socio-economic factors. For this reason, we believe that a region-specific colour palette will be a great tool for professionals who work in this area.”

SNØHETTA & BURO HAPPOLD NET OMANI FISH MARKET JOB BY JEFF ROBERTS MUSCAT, OMAN // Decorated multidisciplinary Norwegian practice Snøhetta and global engineering consultancy Buro Happold have won a competition to redevelop Oman’s storied Mattrah quayside. Designed by Snøhetta,

the fish market project will be located in the heart of Muscat on the site of the existing 1960s-era waterfront landmark. The Snøhetta design aims to rejuvenate the retro architecture of the site and provide modern trading spaces that will feature landing, refrigeration, preparation, packing and

restaurant facilities. The new market will provide a fresh focal point on the Muscat quayside, which, whilst housing the very popular and functional traditional market and visited annually by thousands of Omani nationals and tourists, has seen demand outgrow its capacity and

functionality. Buro Happold, which worked together most recently with Snøhetta on KSA’s King Abulaziz Center for Knowledge & Culture, was comissioned to provide the structural and building services as well as the geotechnical and civil engineering for the site.

“This is an opportunity to add another exciting and innovative project to a growing list of successful collaborations between Scandinavian architects Snøhetta and Buro Happold in the Middle East,” explained Nick Nelson, principal at Buro Happold’s head office in UK.

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esponsible Society (RS) is an advanced consultancy service that focuses on Corporate Social Responsibility, sustainability and environmental issues in the building industry. It was launched in KSA in February 2010 and it aims to serve those companies that realize the stringent requirements of global responsibility. RS enhances its client’s valuation by designing market winning CSR plans and testing them through its own network of international and local consultants. Through a strategic relationship with companies’ stakeholders, RS delivers a competitive advantage through strategic CSR while adding value with creative planning, innovative ideas and experienced market ‘know how’. Its consultants meet the highest industry calibre and have extensive experience that can add value to clients through CSR and sustainability best practices.

GO PROGRAM The RS GO Program is a certificate program that can recognise organisational efforts to become environmentally friendly and measure a company’s envi-

ronmental performance to meet the local and global market requirements. Benefits of the Go Program include the following: Assessment: Any company that gets involved with GO will be assessed by the RS team on how to apply and retrofit green systems on their operations. Indicators: All the info will be measured following the GRI sustainability reporting framework and other recognised environmental standards to indicate the client environmental performance. Recommendation: At the end of the programme, the team of consultants will create recommendations that will allow the client to implement the necessary green solutions to fill their gap. Loyalty Statement: The companies participating will declare their willingness to follow the recommendations by signing a statement of loyalty with RS. GO Award: When the companies fulfil the criteria and process the assessment, they will receive a certificate and label which indicates their organizational commitment to environmental production. This certificate could be used in all company marketing and PR communication.

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GREEN CLUB Green Club is a forum where we aspire to impact our community, nation and world, by educating, inspiring and involving people. Our aim is to help organizations to become more efficient to build a greener future. Any company interested in the environmental issues can participate and they will receive a series of benefits including: 1. Best practices database 2. Environmental Advisory from a network of international experts and accredited professionals 3. Invitations to an annual conference with Green Club members on CSR, Sustainability & Accountability 4. International trips for members to experience on-site some of the most successful green practices.

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COMMENT DR ALAA MANDOUR

ARCHITECTURAL EDUCATION IN THE GCC: ARE EDUCATORS MISSING THE POINT? BY DR ALAA MANDOUR, SULTAN QABOOS UNIVERSITY, OMAN

hat is the meaning of the term “Architectural Education?” It conveys the notion of formal, structured, paced and supervised training. Training that is well balanced in terms of subject matter, methods, techniques and aims, which is constantly evaluated and re-evaluated, and, when completed, somehow recognized by external authorities as intrinsically sufficient to allow an individual to practice architecture. Architecture was principally a craft in the pre-modern period. And like many crafts that are instantly applicable to everyday life, architecture then depended more on apprenticeship than on theoretical knowledge – and it did so across cultures. Research shows that no medieval culture developed a body of theoretical and historical knowledge as a prerequisite for its architects and builders to practice their craft. They only needed to learn by monitoring and by reiterating what their masters did. Nowadays, architectural education and practice in the GCC is facing a

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dramatic situation. There are incessant endeavours to improve architectural inputs to rearrange the structure of the educational method, to test accepted ideas, and to prod prospect apparitions. However many researchers have revealed fundamental disagreements over the goals and objectives, structure and contents and tools and techniques required for architectural education today. While agreement is still lacking on what changes and developments in education will best support the ambition of modern societies, architecture students and educators must adhere to international standards but also incorporate a critical approach to the reading of the traditional environment as an essential part of curricula. If we examine the core context of architectural courses throughout the GCC, most of it tends to lack a clear orientation. It tends to be projectoriented rather than be based on an explicit goal-based pedagogical philosophy – although promising initiatives are being taken in the documentation of heritage preservation and the philosophical aspects of planning and building craftsmanship within Muslim traditions and history! Unfortunately, in GCC courses, teaching methods and curricula still tend to be conspicuously influenced by foreign models and Western references. In my opinion, there is too

MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com

heavy an emphasis on design theory and too keen a focus on aesthetics, material choice and physical comfort rather than social needs and realities. Issues of culture, socio-economic needs, indigenous techniques, technologies and materials and even climate are rarely perceived as valid issues for the curriculum. We can argue that this approach needs to surpass the discourse of form and ornament by involving a more responsive approach. With regard to culture in contemporary architectural thinking and teaching, we should be discussing a new academic sensibility that shapes the ways in which architectural history and theory are approached; the role culture can play in the shaping this sensibility; and the conceptual and ethical problems inherent in cultural representations. In short, we need to be consciously addressing the ‘correct’ balance of practice and theory. A large majority of GCC educators seem to be teaching their students how to preserve history, how to retain the socio-cultural aspects and what are the considerations to be involved in their designs. But, when we go back to the kitchen the recipe gets tweaked and the Western ingredients appear, mostly because they are the only ingredients available in the market. In fact, all the information sources come from the West and the curricula for the very universities in which we teach are set up by experts from USA

COMMENT DR ALAA MANDOUR

and Europe. So, it’s no wonder that the ‘dish’ created is something alien; something that simply adds a bit of cultural spice in the form of parapets or wind towers. What we need in the Gulf is a real commitment to a post-enviro revival of the educational core and an exploration and genuine deconstruction of our history. If this happens, it allows us to reconstruct our present and create our future, not as a mere replication, but as an evolving process to leave for the coming generations. In architectural education, we need to bring together and convey different periods of time, which requires a deeply dimensional projection of human beliefs. At best, it can provide an echo of a spiritual universe which integrates humans in a meaningful order and provide them with the feeling that their small personal world is in harmony with a much larger reality. The conflict between the traditional culture and modern systems of thought has to be seen in this wider context, for the controversial issue is the interpretation of ‘development’. For example: a) Should development enable the balanced realisation of the totality of human capabilities, or should it reduce reality to limited aspects of material life at the expense of other qualities? b) Should development promote an increase in quantifiable production only, or should it support a different type of creativity, which includes more fundamental forces and experiences? As far-fetched as these questions may seem, they determine the cultural responses which eventually generate the built environment and its physical expressions. The way to achieve the built environment we seek is to explore and discover the potential continuity between past, present and future. To do this, we need to: a) Analyze and interpret basic urban and architectural patterns to determine how they can be adopted or reinterpreted in a contemporary context; b) Figure out how to deal with the problems and incompatibilities caused by the impact of time differences, both in philosophical

and in practical terms; c) And identify the new alternative approaches, which could reconcile traditional principles, contemporary needs and the living future. Furthermore, we have to develop our educational identity by tackling what we recognise to be our real problems. Identity is not a self-conscious thing; we find our identity by understanding ourselves, and our environment. Any attempt to undermine or shortcut this process – or to concoct – an identity, would be dangerous to us all. It would be manipulation; little more than mere gesturing. A signal is quite distinct from a symbol, for it implies a reaction. If an architect, after travelling around the world, were to return to his origin, and attempt to reproduce there a glass building he saw in Boston, he would simply be transmitting signals. But if, on the other hand, he were to take the principles of architecture, and apply them to a completely different set of materials, customs, climate and traditions, he might put up a contemporary building which isn’t all glass but which is very relevant to its locale and identity.

Now that the built environment has become subjugated by a market system, and that commodity has become the goal and signifier of social life, it has become impossible to keep architectural education free of economic rationalisation. Architectural education today finds itself having to function within boundaries of co-modification, relativity, and practical complexities as its defining precincts. This is a shame. For it to remain credible, architecture must return to its older, semi-independent and gallant model, whereby the architect was supposed to have a rounded education that allows him to be a master builder, artist and humanist.

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STUDENT DESIGN SHOWCASE

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E AG

AHMED EFFAT MOKHTAR

PAGE 23

REIHANEH RAMEZANY MAHONAKY American University of Sharjah

TAHEREH RAJABI

MOHAMMED ABDULLAH SAID AL-SALMI

American University of Sharjah

Sultan Qaboos University

ADI ABDULLAH ALFAREI

PAG E

Sultan Qaboos University

PAG E

E AG

The British University in Dubai

AHMED ABDULLAH HUMAID AL-MAQBALI

Sultan Qaboos University

SHARING KNOWLEDGE A LOOK AT SOME OF THE GCC’S BEST STUDENT DESIGNERS

MOMNA ARSHAD

American University of Sharjah

AHMED AL-SHAHRI

Sultan Qaboos University PAGE 26

ALIYA A.SATTAR YAQOOB AL-HASHIM

Sultan Qaboos University

E AG

Sultan Qaboos University

ASMAA AL SAADI

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E AG

American University of Sharjah

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HANNAH ALLAWI

PAG E

STUDENT DESIGN SHOWCASE

ADI ABDULLAH ALFAREI

University Sultan Qaboos University Year 2009 Architectural inspiration inspired by Frank Ghery and Peter Eisenman Career aspiration Continue for post graduate studies Project Name Animal Biotechnology Research Center Architectural Style Deconstruction Key architectural elements Dynamic form inspired by the DNA module Project Description Site The chosen site is located at Sultan Qaboos University, along the AlKhood Street. The site is linear, situated between the university and the new park that are being constructed. The reason of choosing this site is because although the SQU area is the center of the education in Muscat, it lacks a proper Biotechnology Center. Concept The concept of this project has been extracted from the form of the DNA. The DNA is composed of two parts, the inner and the outer. The outer one will form the building, where the inner will define the boundaries. Sustainability Sustainability was taken into consideration throughout the design phase and it can be seen in solar cells that are used in the roof, as well as the use of day light and a collection of new technologies, which lead to effective energy conservation in the building.

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STUDENT DESIGN SHOWCASE

AHMED EFFAT MOKHTAR

University The British University in Dubai Year 1st year Masters Program, Sustainable Design in Built Environment Architectural inspiration Dr. Abdelhalim Ibrahim, Michael Graves Career aspiration Improving the built environment Project: Sustainable educational facility in Dubai, The world Islands Style Green contemporary architecture Key architectural elements Natural ventilation, shading, local materials, energy modeling Project Description The project aim was to conceptually move between environmental aspects and the buildingâ&#x20AC;&#x2122;s architectural elements. MEP systems allow the resolution and expression of sustainable ideas in a context with a special nature. The design came out as a result of climatic analysis for Dubai, then sketching a concept, accompanied by environmental energy modeling from early sketches, to examine the proposed architectural features. The educational facility was designed in such a way that minimised the western and eastern elevations with no openings; the building was raised above grade with minimum foot print to help in articulating the air all around the building, reducing its heat and acting as a buffer. Photovoltaic cells were introduced in the south side of the building. Natural ventilation was allowed through stack effect by adding vertical solar chimney which will also provide day lighting to the space.

www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT

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STUDENT DESIGN SHOWCASE

AHMED ABDULLAH HUMAID AL-MAQBALI

University Sultan Qaboos University Year 2009 Architectural inspiration Inspired by Richard Mier Career aspiration A search for a new Modern Architecture for Oman Project Name College of Fine Arts Architectural Style Modern architecture Key architectural elements Composite and uniform forms Project Description The need for this type of project arises from the need in Oman for a talent-encouraging facility that can develop young Omani artists and give them a platform to display their works. It consists of painting, sculpture, ceramic and graphics studios along with workshops, an exhibition hall and classes. The central concept of the project is to have a main axis that acts as a core spine of the building, over viewing most of the activities and leading to the exhibition hall that is the area of talent display. Natural lighting is used heavily in the design and was achieved by providing inner courtyards, which are also utilised for student activities.

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STUDENT DESIGN SHOWCASE

REIHANEH RAMEZANY MAHONAKY

University American university of Sharjah Year Senior (Fall 2008) Architectural inspiration George Katodrytis Career aspiration To become a design director in an international consultant company Project Dubai Poly Morphic Hotel Style Contemporary architecture and design Key architectural elements Distortion, rotation, bill boarding, complexity of spaces versus simplicity of geometries and grids Project description This project is a proposal for a desert hotel based on the concept of a linear and twisted structure. The project was initiated by observing and mapping an urban billboard as perspectival distortion against the horizon. By walking around the billboard, a series of rotated views were sequentially made into a system of twisted sections. These are developed into a geometry of sections for digital fabrication. The modular structure that is generated made the building structure and hotel units. The building is generously placed in a desert landscape and created level changes in the land, which has been covered partially by the skin. The irregular geometry of the building creates optical experience and brings out the sense of being in a frame while looking at the landscape.

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STUDENT DESIGN SHOWCASE

University Sultan Qaboos University Year 2009 Architectural inspiration Santiago Calatrava Career aspiration A search for a new modern architecture for Oman Project Name National Football Stadium Architectural Style High tech architecture Key architectural elements High tech architecture, steel and tensegrity Project Description The project is a football stadium with a capacity of 10,000 seats. The location is chosen to cater to the people in Al Sharqya Region, Oman. The location is outside of the town of Ibra to avoid the traffic. The concept is to express the improvement of Omani football over recent years and compare it to the international playing level, through the clear slope which starts on the left side of the project and continues increasing until it intersects with the international side (right side). The structure of the stadium is columns and beams carrying the tiers and cantilever beams carrying the shelter, supported by the steel cables. The spaces under the tiers are used for toilets, cafeterias, services and mechanical rooms.

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MOHAMMED ABDULLAH SAID AL-SALMI

MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com

STUDENT DESIGN D SHOWCASE SHO

TAHEREH RAJABI

University American University of Sharjah Year Fall 2008 Architectural inspiration Peter Eisenman & Rem Koolhaas Career aspiration As an architect, I would like to be a positive contribution to the society on the path of enhancing the quality of the living spaces Project Name Bani Yas Scafuilding Style Conceptual Key architectural elements Scaffolding/space connectivity Project Description Bani Yas Scafuilding starts as a research thesis about scaffolding structures and movement of human body in yoga gestures. The emphasis of this exploration is combination of the two systems (human body and scaffolding). After investigating these two terms a device is developed; this device is used as a space-making object and combines both scaffolding and yoga moves. After the development of the device, an urban site is analysed for its suitability and relationship with the two systems of scaffolding and yoga, in terms of both context and users. The end result is the Bani Yas Scafuilding, which is series of spaces that are designed in relation to the human body gestures and circulation. These spaces are suspended (supported) within a scaffolding structure that is installed on the site. Bani Yas Scafuilding suggests a new type of an urban public space that houses temporary activities while being a temporary structure itself.

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STUDENT DESIGN SHOWCASE

MOMNA ARSHAD University American University of Sharjah Year Senior Architectural Inspiration Zaha Hadid Career Aspiration To become a cutting edge architect in an international design practice Project The Perforated Skin Style Contemporary Key Architectural Elements Intricate Outer Skin, Ventilation & Shading performance achieved through intensive undulations of the skin Project Description The project emerged from two words ie, “Urban night illumination” and “Malleable materiality”. By adapting contemporary form-making process through use of digital and physical modeling, a unique space was created. The project is an exploration of the intensity, proximity and diversity of dots, which strives to create a 3D effect on a 2D skin. The spaces are differentiated by the density of dots and undulations of the skin, in order to achieve desired sun and shading performance. The porous project proposes a combination of art and public spaces. The site, Deira Dubai, consists of a context that could foster the arts as a catalyst for social events as well as various public experiences.

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STUDENT DESIGN SHOWCASE

ASMAA AL SAADI

University Sultan Qaboos University Year 2009 Career aspiration A search for a new modern architecture for Oman Project Name Physiotherapy and Rehabilitation Center Architectural Style Modern architecture Key architectural elements Composite and geometric transformed forms Project Description The main concept is to provide a natural environment within the project, by creating a forest by the sea, which will act as a retreat for the patients. After developing the concept it ended up with three separate masses, with different functions, connected by a greenscape and pedestrian nodes. An urban hub for all patients needed to be a special retreat within the whole space, where patients can live between landscape and view the sea. With these environmental features it will act as a natural cure and aid in healing the spirit.

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STUDENT DESIGN SHOWCASE

ALIYA A.SATTAR YAQOOB AL-HASHIM

University Sultan Qaboos University Year 2009 Architectural inspiration Frank Lloyd Wright Career aspiration Develop a traditional architecture theme for Oman Project Name Oman Gold Center Architectural Style Organic architecture Key architectural elements Organic forms with geometrical order Project description The gold souqs in Oman are losing their importance; they need to be combined into one area provided with all services and facilities. This project combines the shops, workshops and gallery in one building, so the visitors can see the process of gold making, while shopping in the building. The building was designed to take the flow of the gold making process into consideration. The building consists of four levels, each level serving a specific function. The shape of the cone was chosen because it serves the area requirement of all levels. The shops have been distributed in a way that takes the visitors on a journey. The feeling of an old Omani â&#x20AC;&#x2DC;haraâ&#x20AC;&#x2122; was maintained in the passages and inner courts.

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STUDENT DESIGN SHOWCASE

AHMED AL-SHAHRI

University: Sultan Qaboos University Year: 2009 Architectural inspiration: Inspired by Richard Mier Career aspiration: A search for a new language or tradition for Omani Architecture Project Name Oman Geology Museum Architectural Style Modern architecture Key architectural elements Uniform forms Project Description The mountainscape all around is the starting point of the concept of the project, though it is situated directly inside the mountain. The form of the masses is like a crack inside the mountain, which formed the three masses, which are the main art galleries of the project. The imposing presence of the solid form frames the building and shows it as if it is a part of the mountain. The building asserts itself proudly through its constructive form, expressiveness and strength.

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STUDENT DESIGN SHOWCASE

University The American University of Sharjah Year Senior Architectural inspiration The UAE’s traditional courtyard house and projects by Charles Correa for Bastakiya Cohousing Community Project. Career aspiration To inspire a new design approach to revive UAE’s architectural identity by bringing together traditional and contemporary form. Project Dubai’s Bastakiya Cohousing Community. Style A contemporary courtyard house Key architectural elements Detached units that enable passage through the community whilst maintaining the traditional central courtyard and horizontal masses for climatic sustainability. Project Description Based on the sustainable cohousing model, the Bastakiya Cohousing Community serves its residents by providing contemporary living with shared facilities in order to enable interaction among the diverse residents who live there. The location and orientation of the entire community not only enables a social lifestyle but most importantly provides a sustainable approach within the building form in that provides protection against warm winds from the desert whilst making use of cool winds from the creek during peak temperatures through out the year. The architecture of the community reflects that of the old courtyard houses of the Bastakiya located adjacent to the residential community.

HANNAH ALLAWI

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CASE STUDY LUSAIL DISTRICT

MODERN MASHRABIYA

KEO’S LATEST PROJECT IN DOHA IS THE CORNERSTONE OF THE CITY’S NEWEST DISTRICT

aking full advantage of a professional relationship that goes back decades and transcends geographic boundaries, Diyar Al Kuwait (DAK) commissioned KEO International in 2008 to design the pioneer project for the Lusail District in Doha. The programme for the project is relatively straightforward. It is based on a mixed use development consisting of commercial, residential and retail spaces. It encompasses 247,044m² of allowable area – 159,989m² for commercial; 130,220m² for office space; and 29,769m² for retail.

The residential programme is comprised of 640 one-bedroom and twobedroom flats as well as 27 four-bedroom duplex townhouses. The area allowable for residential space is approximately 87,055m². Two basement parking levels plus a partial ground for the mezzanine level provide the 4,070 parking spaces required for the development. According to Dherar Al-Nisf, the project manager from Diyar Al Kuwait, KEO’s design and build capabilities are unparalleled and their vision for this site was spot on. Speaking exclusively to Middle East Ar-

chitect, Al-Nisf considers its very typology the most attractive element in the project because a mixed-use facility is how a single project becomes a functioning district. “A stand-alone project was desirable for everyone involved, including the master developer Qatari Diar, DAK as the sub-developer and the whole city of Doha. Lusail aims to provide a whole new district to the city. This is our vision,” explains Al-Nisf. Providing a turn key solution that includes everything from architectural design to construction management, KEO is working to ensure that the stringent time

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CASE STUDY LUSAIL DISTRICT

The glass entrance volumes are wrapped in random lace-like patterns of metal to mimic the quality of light found in traditional souqs.

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CASE STUDY LUSAIL DISTRICT

The site for this project is located in the southeastern corner of the Lusail Development in the Marina District.

frame of the project is met. “We’re looking to begin construction somewhere between the third quarter of 2010 and the end of the year,” says Al-Nisf. KEO’s Abu Dhabi-based design director, Raj Patel, shares his client’s optimism. “[DAK] is hoping to be in the ground by December. It’s aggressive but it’s doable,” says Patel of the US$ 800 million project. The master developer on Lusail is currently implementing the infrastructure contracts on the entire development, so when more projects do come on line, they’ll be able to make full use of the transportation, plumbing and electrical facilities. In fact, the site for DAK’s mixeduse development is what inspired a portion of its design.

THE PROJECT SITE The site for this project is located in the southeastern corner of the Lusail Develop-

ment in the Marina District. Lusail lies north of Doha City and roughly 20km north of the yet-to-be-completed Doha International Airport and within a few kilometres of the West Bay Development and The Pearl – both of which aim to become bustling urban centres in their own right. The site is bounded by the creek at its southern edge, the Gulf to the east and the internal road network of the Lusail Development at its northern and western edge. “The tall towers are on the north side because that’s where the main thoroughfare and the rest of the commercial developments will be located. That positioning allowed us to put residential on the southern and eastern points near the water and away from the hustle and bustle,” explains Patel. Although ideal for residential and commercial inhabitants, the site came with some significant challenges, the first of

which was the sheer size of the project. “The biggest challenge on the site was how to accommodate the area we were allowed – almost 250,000m² – within the guidelines that they were requiring in terms of setbacks and building heights,” says Patel. “If you look at the residential,” continues Patel, “we have strung out the buildings as far as we could because we couldn’t go any higher than what they are now. We were limited to 50 metres of height. The residential had to be short and so the office buildings needed some height.” Because the brief called for a mixed-use typology, another key challenge for the KEO team was figuring out how to integrate office, retail and residential space – each of which came with myriad height/aesthetic/ storey requirements under the guidelines. Patel’s solution to the problem was a modern take on the ancient concepts of courtyards, mashrabiya and elevated gardens.

www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT

Because the brief called for a mixed-use typology, a key challenge the KEO team was figuring out how to integrate office, retail and residential space.

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CASE STUDY LUSAIL DISTRICT

KEO’S DESIGN SOLUTION Each of the three office buildings are situated to address the main street and provide excellent views of the social, urban and natural space. The commercial buildings step from 25 storeys at the northeastern portion of the site to 29 storeys at the northwestern corner of the site. Elevated sky gardens are located in strategic locations of each tower to offer tenants a connection to nature and break up the mass of the building. “We wanted to resort to vernacular principles. That’s why the courtyard and mashrabiya are there. The elevated gardens have come out as a new typology,” says Patel. “In the past, when you’re building 1- and 2-storey buildings, it’s easy to incorporate courtyards and mashrabiya. But as we go higher and higher, we have to introduce spaces that connect users back to nature. Those courtyards allow us to present a connection to a horizontal plane that is open to the sun, no matter how high we go.” The courtyard was conceived as a buffer zone. While the north side is aimed at attracting people to the commercial space, the south side provides privacy for the residential space.

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WE WANTED TO RESORT TO VERNACULAR PRINCIPLES. THAT’S WHY THE COURTYARD AND MASHRABIYA ARE THERE. THE ELEVATED GARDENS HAVE COME OUT AS A NEW TYPOLOGY. RAJ PATEL THE BEVELLED FAÇADE Aesthetically speaking, the buildings have a shard-like quality. They include sharp angles and jagged, almost harsh, lines at every turn. This, says Patel, was done purposely. The facades developed for the project are inspired by a vernacular vocabulary, which deals with the transformation of patterns, protection from the sun’s rays and privacy. To achieve the desired affect, Patel used various sizes of solid panels and glass. He had to continuously strive to balance between using all the space while ensuring the final product didn’t look like a multicoloured box. This aesthetic aim – as well as a Lusail initiative that said no more than 50% of the façade could be glass – combined to create the unique bevelled façade of the project. “We accepted that challenge and decided that instead of just doing ribbons of glass windows, we would study woven patterns such as Bedouin rugs and tapestries,” explains Patel. “Tilting the panels was a function of studying those woven patterns. We wanted to avoid a very flat or static im-

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age. We wanted something that would look very interesting as the sun and shadows moved throughout the day.” Although they might seem randomly placed, the bevelled pieces of the façade are the byproduct of a mathematical formula that can address any glass/façade requirement. “We developed a very simple module that allowed us to put in our main lines and infill the pattern,” says Patel. “So with the module, we could determine where we wanted glass and where we wanted solid. By doing this, we could go anywhere from 5% to 90% glass.”

THE FINAL WORD The resulting composition of the building masses, which are unified with gardens, have the opportunity to create a landmark development for this site. The glass entrance volumes are wrapped in random lace-like patterns of metal to mimic the quality of light found in traditional souqs. The residential buildings play with an array of stone, metal and glass to provide maximum views of the water from the units within. The facades create a dynamic image for the project and respond to the environmental conditions of the site by respecting traditional architectural concepts but delivering them in a modern, contemporary way.

FEATURE GLASS

ARCHITECTURAL GLASS: BEAUTY OR ECO-BEAST? FROM AN AESTHETIC POINT OF VIEW, ARCHITECTS AND CLIENTS SPECIFY THE INTERIOR AND EXTERNAL GLASS FOR A NEW BUILDING. WHEN IT COMES TO STRUCTURAL INTEGRITY, PERFORMANCE AND APPLICATION, ENGINEERS RULE. IF THE PROJECT REQUIRES AN INORDINATE AMOUNT OF GLASS, PERHAPS CONTRACTORS OR VALUE ENGINEERS WILL WEIGH IN WITH COST-EFFECTIVE ALTERNATIVES. THIS IS THE REALITY OF BUILDING IN THE MIDDLE EAST, BUT AT THE END OF THE DAY, WHO TRUMPS WHOM?

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FEATURE GLASS

n the Middle East, does the architect’s opinion reign supreme? Or, are the value engineers the behind-the-scenes budgetary saviours when it comes to making decision on glass? Do building owners or developers really even care what goes where, as long as the building sells? All of these questions beg one last, fundamental question: Is architectural glass a decision of functionality or aesthetics? This much we know: architecture is about creating space. Architects design structures to be experienced. To remove the experiential element from a structure is to render it a sculpture rather than a piece of architecture. Few materials are as directly responsible for influencing the way in which users experience a structure than glass. Whether its intent is form or function, the versatility of glass is unparalleled. Middle East Architect caught up with building professionals around the world to talk about the importance of using the ‘right’ glass for the right project.

WHO’S MAKING THE DECISION? Richard Wagner, architect at dxb lab describes an ideal scenario. “In an ideal nutshell, the architect specifies the type of glass, the engineer verifies that choice, the contractor builds it, and the developer sells a quality project as desired by the clients.” It doesn’t take an astrophysicist to know that in Gulf architecture, things don’t often work that way. In a region where quality can quickly be supplanted by quantity, architects often struggle with contractors and value engineers convincing clients that using a less advanced product will have little influence on how the building looks or performs. Thom Bohlen, chief technical officer at the Middle East Centre for Sustainable Development, understands the importance of consulting with qualified professionals when considering glass. “Architects normally specify glazing for their buildings, but typically they get input from structural engineers, glazing contractors, glazing suppliers and, of course, from the green building consultant,” says Bohlen. “The appropriateness of the Uvalues of the system, transmittance factors and shading coefficients can all greatly affect energy consumption in buildings.” All too often, however, developers or contractors in the Gulf decide on a type of glass or facade system depending on budget or preference of origin. Specialty

engineers are consulted only in the most complex scenarios and architects are left voiceless in the great debate about money.

IS THE ‘RIGHT’ GLASS IMPORTANT? Matching the glass system with the style of the building and the context in which it sits is extremely important. The quality of the glass, in terms of structural, physical and thermal properties, is paramount to achieving a building that looks and functions properly. “Especially in hot regions like the Gulf, the energy performance and comfort levels of a building clothed in glass are totally dominated by the choice of glass,” explains James Law, chairman and founder of Hong Kong-based James Law Cybertecture International (JLCI). Having designed several projects for the Middle East and India using glass that does what it promises is crucial for JLCI.

Chad Oppenheim, founder and principal of Miami-based Oppenheim Architecture + Design, often says: “Building glass refrigerators in the desert doesn’t make a lot of sense.” Oppenheim’s logic is doubly poignant given his experience and the context in which he works. So, the obvious question remains, is glass a liability in the Gulf? “I think any material can be a ‘liability’ if used improperly or unwisely, or where all considerations in the use of that material are not considered,” says Bohlen. “Well if you look at it from an environmental point of view then yes. We’re creating glass boxes that are heat magnets. They look nice, but often trap the heat inside and cost a lot of money to cool. This cooling process harms the environment in a tremendous way,” agrees Negm. Wagner takes the argument a step further to suggest that the ‘liability’ aspect of glass doesn’t rest wholly with the material

WE’RE CREATING GLASS BOXES THAT ARE HEAT MAGNETS. THEY LOOK NICE BUT OFTEN TRAP THE HEAT INSIDE AND THUS COST A LOT OF MONEY TO COOL. THIS COOLING PROCESS HARMS THE ENVIRONMENT IN A TREMENDOUS WAY. Because glass can range from fully transparent to fully opaque or reflective, and can be specified in virtually any tint or colour, aesthetics is less of an initial concern than function. As Kareem Negm, LEED AP and architect at Dar Al-Handasah (Shair and Partners), points out, ‘function’ in the Middle East means more than just energy-efficiency. Of course, double glazed, low-U glass should be specified externally to reduce solar gain but because of cultural privacy issues, residential projects will almost always opt for fully reflective or dark tints, regardless of efficiency levels of the glass. Internally, however, aesthetics take priority.

IS GLASS A LIABILITY? In the more moderate climates of Europe, North America and parts of Asia, glass can be an extremely versatile material that can simultaneously address efficiency and design challenges. But, climates in the Gulf are harsher; they require materials that function at higher levels and, therefore, require careful consideration during design and specification.

itself. “There is always an element of liability in glass, no matter where you are located,” he explains. “The reason that there appears to be a lack of versatility in this market can be largely attributed to the fact that the local manufacturing industry has not developed a diverse and feasible enough repertoire, which in return has hampered construction of avant-garde designs... At the same time we have to consider the environmental aspect of shipping tonnes of products halfway around the globe,” adds Wagner.

THE FINAL WORD It seems clear that the key to using glass correctly and responsibly lies in the ability of architects, contractors, developers and engineers to be collectively mindful of its climatic challenges and specify the product in conscientious ways. The challenges include high heat and humidity, blowing sand particulates and plenty of solar gain. Anytime you can avoid the sun’s rays from directly striking the glass you have gone a long way towards making the facade and interior more efficient.

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FEATURE GLASS

IN SOLAR GLASS SOMFY

SCHÜCO

SCHEUTEN

Somfy’s internal blinds allow users to alter the look and feel of any setting. The blinds help control heat transfer, reduce glare and help protect your furniture and floor coverings from fading – all at the touch of a button. Somfy’s internal blinds come in several styles including: aluminium/wooden venetian blinds, pleated blind, roller blind, fabric Roman blind, nets or curtains. For the full range of products/services, check out www.somfy.com.

Schüco’s fully integrated PV systems turn sunlight into electricity, delivering free electricity to your home. It’s third-generation, highly integrated thermal systems captures heat from the sun, uses it to heat water and then stores the water in a high-efficiency tank for use in the home. For the full range of products/services, check out www.schueco.com.

By applying advanced coating technology, Scheuten can now combine ample light penetration, with effective solar control. Scheuten Glass offers a combination of solar and efficient heat reflecting properties with Isolide Brilliant glazing. It affords architects almost unlimited possibilities for designing transparent facades without making concessions to interior climate control. For the full range of products and services, check out www.scheuten.com.

SAINT GOBAIN

ENERGYGLASS

ROMAG

Nowadays the diverse range of glass types, functions and performance allow architects the freedom to be creative and original with glass design. Be it thermal insulation, acoustics, safety/security, self-cleaning or solar control, Saint-Gobain Glass has an extensive range of high performance solutions for the construction market. Products directly related to solar control include: Planitherm Total, Planitherm 45, Cool-Lite, Bioclean Cool-Lite and PrivaLite. For a complete list of products and services, check out www.saint-gobain-glass.com.

Specialists in building integrated photovoltaics (BiPV), EnergyGlass uses poly vinyl butyral (PVB) for its PV modules, which was specially developed for use with solar energy. PVB is the material typically used for layering the safety glass in curtain walls, glazing for roofs, parapets/ balconies, shading windows, greenhouses/gazebos and anti-noise barriers. EnergyGlass products have been researched, developed and supported by the Universities of Milan and Turin. For a complete list of products and services, check out www.energyglass.eu.

Romag is a UK-based manufacturer of specialist transparent composites to the security, renewable energy, architectural and specialist transportation markets. The Company produces a range of laminates, including laminated photovoltaic solar panels generating renewable energy. Key areas of activity are the supply of photovoltaic (PV) solar panels and glass and glazing products to the renewable energy, architectural, safety/security and transportation markets. For a complete list of products and services, check out www.romag.co.uk.

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FEBRUARY 13–19, 2010 CONSTRUCTION WEEK

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SAUDI PROJECT SHOWCASE

RICHES OF DEWAN’S COURTYARD CONCEPT IN AL SHEGERY

l Shegery’s dimensions are 700m x 800m with an area of 535,000m² and a total BUA of 1,337,500m². The project, which is currently in concept design phase, will contain residential buildings, a 150-room hotel, a preliminary school, a healthcare facility, retail space, a mosque and a health club. The entire complex will be comprised of buildings that range from G+4 to G+8 which increase toward the centre of the project and reduce toward its periphery. The urban design strategy of the project depends on situating the buildings as vehicle-free clusters to create an atmosphere of the traditional Arabian neighbourhood, which allow for safe and secure interaction between residents. The public realm is strongly identified by a large mixed use retail area, which includes a massive plaza and ample open space for social interaction. The plaza forms the focal element of the design and distinguishes its role as a district centre.

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Its identity is supported by public parks, which flank either side of the plaza and give the project a visual balance. Visual corridors focus on the central plaza and form the basis of the infrastructure network as well. All of the project’s principle roads lead to the open public space. This section is supported by pedestrian walkways linking the primary interaction spaces. Screening or allowing solar radiation according to season and/or microclimate is an important function of the Arabian courtyard, and Al Shegery’s large scale urban courtyard plays a similar role in this project. The climate modifying action and airflow pattern of a courtyard allows warmer air to be drawn downward into the courtyard, which is then cooled by tree shade, proper orientation and evaporative cooling from the myriad water features. Cool air then moves horizontally through the courtyard to cool the surrounding residences.

SAUDI PROJECT SHOWCASE

WOODS BAGOT’S BUTTERFLIES AND BIOMIMICRY

oods Bagot recently released designs for a single building in Riyadh’s King Abdullah Financial District that is being touted as “an exemplar of the modern workplace”. The design of the building is borne of a deep understanding of the principles of mathematics and pays homage to the geometric ideals that underpin the Islamic structures of the region. The shape of the building is derived from a nested and repeated fractal form, which has been designed with Islamic patterns in mind. By following mathematical rigour to create an interlocking and infi nite geometric pattern, the design creates a balanced and harmonious building form. “In developing this iconic form, our inspiration has also been to learn from the immediate context to ensure regional relevance and to address brief requirements,” said a statement from Woods Bagot. “Bio-mimicry of the structure of

the desert butterfl ies’ wing has been used to inform the skin of the façades which are interpreted to provide solar shading while optimising the view out and incorporating photovoltaics.” The building was created as a response to what the client felt was a disconnect between its four separate buildings of operation. Woods Bagot addressed the concern by developing an optimum floor plate which creatively reconsidered the central. In the KSA building, the central core has been replaced with an internal vertical courtyard that visually and physically connects the entire building. The functional requirements of the central core have been split and located in two smaller cores at the east and west ends of the building. These cores not only provide protection from high heat and solar loads, they are also more structurally efficient. To avoid glare, a light funnel at the top of the atrium harvests sunlight and he-

liostats bounce light deep into the heart of the building. A broad range of sustainable initiatives that address energy, water, indoor environmental quality and material use all combine to amass enough sustainability credits to achieve a LEED Platinum rating.

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The shape of the building is derived from a nested and repeated fractal form, which has been designed with Islamic patterns in mind.

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SAUDI PROJECT SHOWCASE

FXFOWLE’S KAFD PARCELS

Musheireb aims to improve quality of life for all Doha residents

iyadh’s King Abdullah Financial District (KAFD) aims to provide a new financial district that integrates business and recreational activities, while creating a new identity for the Saudi urban centre. Programmatic components required space for office, residential, educational, sports, retail and cultural facilities. Although four sites comprise FXFOWLE’s portion of the development, they were considered and designed as a single mixed-use project. The design of FXFOWLE’s KAFD Parcels proposes a separation between pedestrian walkways, vehicular traffic, and public spaces within each site. The firm’s intent is to create dynamic, visually porous structures, while also drawing attention to three distinct levels of public space. A wadi bed connects the four buildings, one of which is a Mosque. Enclosed pedestrian skywalks encourage circulation while a monorail system promotes the use of public transportation.

TYPSA’S CENTER OF ISLAMIC STUDIES & DIALOGUE OF CIVILISATIONS

et within the most updated master plan for the Al Imam Muhammad Ibn Saud University, TYPSA’s Centre of Islamic Studies & Dialogue of Civilizations aims to be an integral part of the university’s spirit and a champion of the Riyadh identity. Approximately 65,000m², the Centre needed to serve as a landmark because of its distinct location as well as a symbol of architectural and design excellence because of its unique concept. While the concept has only recently been approved, the process came with two specific requirements from the client: a) The Saudi Arabian flag must be the primary reference in developing the building; b) The building and master plan must explicitly represent the five pillars of Islam. In response to these challenges and in an effort to achieve the client’s vision of the project, TYPSA worked with the

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design of the KSA flag to reconfigure its geometric rules without changing the meanings and power of its graphic configuration. Hence, the conceptual site was reconstituted by raising the flag scripts facing Mecca and also by subdividing the base that supports this meaning in four different pieces oriented to each local cardinal point. After the implementation of that key design component, the development of the complex became smoother; introducing the preconceived functional program of 65,000m² (approximately) all around the four lower areas and the tower. An internal podium-level patio gathers together the users of the 500-seat auditorium and museum as well as visitors to the restaurants and low-rise hotel development at the north. From this point, the tower grows and is activated by the sensation of embracing the social gatherings and cultural activities—which is a main objective of the Centre.

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THE SKETCHBOOK AL KADIMIYA DIMIYA

RENOVATION OF AL KADIMIYA Location: tion: Al Kadimiya District (Baghdad), (Bagghdad), Iraq itect: Dewan Architects & Engineers Architect: site: www.dewan-architects.com Website: 044

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THE SKETCHBOOK AL KADIMIYA

THE STRATEGIC CONCERN OF OUR DESIGN WAS TO FIND METHODS TO ADAPT THE AREA TO CONTEMPORARY DEMANDS WITHOUT DAMAGING THE SPIRITUAL LEGACY CONTAINED IN ITS SURVIVING HISTORIC STRUCTURES. THE AREA NEEDS TO BE REVIVED IN SUCH A WAY THAT THE PLACE DOES NOT LOSE ITS ‘SOUL’, AND THIS WAS ONE OF OUR MOST IMPORTANT CONSIDERATIONS THROUGHOUT THE DESIGN PROCESS.

The Dewan team

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THE LAST WORD

INCLUSIVE DESIGN

BY STEVE MASLIN, STRIDE TREGLOWN

became interested in design that includes disabled people during my studies 20+ years ago, which led me to receiving an Access Prize for one of my designs. After I qualified as an architect I also worked with disabled people for Social Services. Several years ago, I was approached by Stride Treglown and was then able to become a Consultant Member of National Register of Access Consultants, through the relatively unusual combination of experiences that I had gained. As an access consultant, my role is about providing advice to both the client and design teams regarding the relationship between costs and risk, between investment and value, and between design decisions and how one might manage buildings inclusively, once completed.

How do you define ‘inclusive’ design? SM: Simply put, it is designing for everyone – including disabled people. We also call this ‘universal design’. It is not just about wheelchair users, but people who have difficulty with movement, vision, hearing, learning and/or language. It includes children/parents, pregnant mothers and elderly people. I compare it with a pair of spectacles; although I have difficulty seeing without spectacles, I am not considered disabled. Likewise, rather than the focus being on someone’s disability, the aim is to design environments that can be managed in a way that ‘enables’ rather than ‘disables’.

20 years – due to legal requirements. Even so, the relationship between design and the psychological wellbeing of occupants is still little understood, even though it impacts employees and customers, and can affect clients’ productivity and revenue earning activity. This is a subject in which I have particular interest. Inclusive design is still a much newer concept in many parts of the Middle East, where there is a need for design guidance. Many buildings and external places lack the application of inclusive design. Inclusive design considerations very much depend on the nationality of the design teams involved. However, as with sustainability, there are signs that this is about to change. Where countries are embracing not only environmental sustainability, but social and economic sustainability, there is the potential to take inclusive design forward at a faster pace than elsewhere. How do you put the case for inclusive design? SM: Where designs are inclusive, people function better, and the environments created can be considered to be more valuable. Inclusive design is about investment in our most precious resource, people, and is therefore about sustainability.

Can you highlight a project that you have worked on that is particularly inclusive? SM: We have recently been working on an interior design concept for a competitionwinning entry for a drug rehabilitation centre at Bosence Farm, Cornwall, in the UK. Because the psychological wellbeing of people fighting drug addiction is especially important, the focus has been on the interior use of colour. Whilst maintaining a relatively neutral but warm background, the aim is, with the input of local artists, photographers and then residents, to introduce photographic images of local scenery at selected locations within the building, with colour extracted from these images. When it comes to making designs inclusive, what advice would you give to interior designers working in this part of the world? SM: Go beyond just wheelchair user access to sensory and psychological aspects of inclusive design. Understand the relevance of inclusive design to the sustainability agenda, the relevance of the cultural context and the relationship between capital investments made by your clients, the productivity of their staff and the willingness of their clients do business.

Is this still a relatively new concept? How much awareness do you see in this part of the world? SM: The concept of inclusive design has only gained momentum in countries such as the US, UK and Australia within the last

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ARCHITECTURE COMPARE & CONTRAST

BATTLE OF...

HORSE RACETRACKS

CHURCHILL DOWNS

MEYDAN RACECOURSE

Location Louisville, Kentucky, USA Founded 1875 Owner/operator Churchill Downs Inc. Renovation (2004) Sullivan & Cozart Cost of renovation US $121 million Facilities Museum, cinema, training facilities, clubhouse Dirt track 1.6km Turf track 1.4km Spectator capacity 50,000 (stands); 150,000 (including paddock) Renovation start 2001 Renovation finish 2005

Location Dubai, UAE Founded 2010 Master planner TAK (Malaysia) Construction CSCEC & Mammut Building Systems Total area 18.6 million m² Facilities Museum, marina, IMAX, golf course, 8,622-vehicle car park Dirt track 1.7km Turf track 2.4km Spectator capacity 60,000 Project start June 2007 Grandstand finish January 2010

Facts • The twin spires atop the grandstands are the most recognizable architectural feature of Churchill Downs. They were designed by architect Joseph Dominic Baldez and built in 1895. • In 2006, it became the first horse track to host a Rolling Stones concert. • Phase II saw 4,500 tonnes of structural steel used for the clubhouse. • On June 5, 1907, African-American jockey James Lee set a record that has never been beaten when he won the entire six-race card at Churchill Downs.

Facts • The upper side of the roof contains 4,840 PV panels which generate 750kw of electricity. • The underside of the roof is made of titanium and took 9,000 tonnes of steel to create. • Features the world’s largest LED screen with a screen area of 1,213m². • The cantilevered crescent runs 426m in length and spans 56m across. • The grandstand is 1.6km long, or the length of 22 Boeing 747s.

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