September 2022

EDITOR’S NOTE

In this issue, we speak to the Founder’s of Anterra Studio, about what it takes to cut it as a brilliant Landscape architects nowadays, and we get their perspective on what it’s like to work in the Middle East compared to Asia, from the difference in attitudes towards design to plant selection and to how seriously he takes climate change. See page 8

In our projects section this month, we feature a newly built urban school in Shenzhen, China, created by New York based Studio LinkArc. The low-rise composition of the building allows the school to create an open oasis within a densely packed residential community that allows students to move freely between indoors and outdoors.

Page 40

We also feature the the first female architect to design a Mosque in the UAE. British educated, Saudi Sumaya Dabbagh built the mosque in Dubai in the name of the Late Abdulkhaliq Gargash. A wealthy UAE businessman who passed away in 2016. Dabbagh takes us inside the mosque and explains her design and vision for this contemporary place of worship. See page 26.

In case anyone is having the summer blues after their vacation, we feature a dreamy coastal villa befitting royalty. Designed for a wealthy family, Estate Villa in Abu Dhabi, UAE was designed by Yodezeen architects and features artistic milling on the roof and light and airy spaces throughout to make the most of the seaviews.

Enjoy

Please email us admin@landscape-me.com if you would like to have your company’s featured in the magazine.

Managing Partner: Ziad Maarouf Amine

Copy Editor: John Hampton

Administrative Assistance: Sarry Gan

Art Director: Ramon Andaya

Contributors: John Arthur Davies, Maher Tayyar, Ksenia, Natasha Smith, Nora Alangari

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Dubai Urban Tech District unveiled

Located on the Creekside of Al Jaddaf area in Dubai, the Urban Tech District will create 4000 jobs in green urban tech, education & training. It will also be home to venture capitals to provide the fuel for entrepreneurs, thus empowering a unique collaborative urban tech eco system.

Urban Tech will be at the core of all future cities. The global urban tech market is estimated to be $158 billion dollars, which is expected to grow rapidly in the next decade. Tech-enabled urban developments seek to provide solutions to the challenges created by urbanisation in various areas such as zero-mile food production, food security, affordable & scalable renewable energy, low energy demand water harvesting, zero-waste management, and waste to energy solutions. These are just some of the many challenges our cities our facing.

Baharash Bagherian CEO of URB, the company behind the Urban Tech District said: “Dubai is best positioned to lead the Urban Tech transformation than any other city in the world. The Urban Tech District will be a new global tech hub for urban innovation. With a total of 140,000 square metres of built up area, it will be the world’s largest urban tech district. Thus making Dubai the centre for urban innovation.

The new district will provide facilities for conferences, training, research, seminars, business incubation as well as various amenities. The building will also offset all its embodied carbon emissions from construction & operation. As a net zero carbon district, the development will help to reduce the carbon footprint of its partner businesses, thus enabling a low-carbon workforce.

Innovation will be at the heart of the Urban Tech District. The district will enable the growth of urbantech solutions at a much larger scale, as well as provide investment opportunities to innovators that are tackling some of the most critical issues related to sustainable cities. The district will provide opportunities for a new breed of innovative companies that require a platform to grow rapidly.

The district will also be home to the urban tech institute, which will foster the next generation of urban tech leaders. The institute will provide opportunities to pilot new innovations based on applied research whilst driving public private partnerships. Thus ultimately it will help accelerate the world’s transition towards sustainable developments.

Dubai Urban Tech District will become home for the most innovative entrepreneurs; a living laboratory where innovation in urban technology thrives.

AUS researchers develop novel model to boost solar energy production

Two researchers at American University of Sharjah (AUS) have developed a novel mathematical model that determines the appropriate time to clean solar panels of dust accumulation, leading to an increase in energy generation.

Contucted by Dr. Mostafa Shaaban, Associate Professor and Dr. Mahmoud Ibrahim, Professor in Electrical Engineering at AUS, the study was sponsored by AUS and Rentech Systems LLC, an enterprise that designs and installs renewable technology systems in the UAE. The research contributes to the implementation of the UAE Energy Strategy 2050, which aims to increase the contribution of clean energy and reduce the carbon footprint of power generation.

“Solar systems are currently considered a viable energy alternative source in the Middle East and other parts of the world. The UAE is no exception in its eagerness to harness electrical energy from the sun. Several projects launched in Abu Dhabi and Dubai are expected to achieve massive growth in the coming decades. Dust accumulation is one of the major challenges any solar system will face, especially in light of the weather in this region. Cleaning the solar panels is costly, which means they are only cleaned when needed. What we have produced is a novel mathematical model that can estimate the optimal timing for cleaning solar panels, based on the photovoltaic output power and environmental conditions,” explained Dr. Shaaban.

He added: “We usually do not have a way to know how much dust is accumulated on solar panels. Dust accumulation and weather conditions cause a reduction in power output. The proposed model estimates the amount of dust on the panels and helps schedule their cleaning. As a result, we do not carry out unnecessary cleaning operations and waste resources, and we do not leave the dust to accumulate.”

The study found that optimal cleaning can result in 27.3 percent added energy generation and recommended following different seasonal cleaning patterns.

“Varying the cleaning frequency according to the season is better than having a fixed cleaning schedule for the whole year. The proposed model is the first of its kind in the field. We expect many applications for the proposed model and more advanced versions to be developed. Many studies on solar farm sizing need to consider the impact of dust when implemented in the Middle East or similar environments,” explained Dr. Ibrahim.

The researchers have published two papers on the subject in the journals Energies and Applied Energy and are looking forward to further developing this model and seeing it adopted by renewable energy companies. They noted that Rentech Systems LLC is planning to adopt their model for scheduling solar panel cleaning.

“This project will help achieve broad and long-term goals and contribute positively to clean and efficient power systems across the United Arab Emirates, the region and beyond. It will also provide data and guidance to enhance power systems and the renewable generation portfolio in the UAE, as well as build tools to help maintain renewable energy sources, save energy and improve sustainability,” said Dr. Ibrahim.

The research complements other research being undertaken at AUS, including that conducted under the Petrofac Research Chair in Renewable Energy. Recent research under the chair includes that of an IoT edge device that can remotely assess the cleanliness of solar panels.

Electrical engineering is one of the most exciting branches of engineering and is at the forefront of shaping the future of the world. The College of Engineering at AUS is known for its highly acclaimed undergraduate and graduate degrees in electrical engineering, with AUS ranked among the top two (tied) in the UAE and top 300 universities globally for electrical and electronic engineering, according to QS World University Subject Rankings (2022). . Strongly connected to today’s industry environment, the AUS electrical engineering degree programs are designed to ensure that students will be able to employ their knowledge, analysis and design skills in realizing engineering systems that advance the frontiers of science and technology.

OASE FOUNTAIN TECHNOLOGY

Some bridges just close gaps. This one also opens hearts.

The Banpo Bridge in Seoul was just an important traffic artery over the Han river - until one day thousands of people gathered on the riverbanks to experience it in an entirely new light: Over the length of 1,140 m giant water arches splashed down from 20 m height, illuminated in rainbow colours by countless LED spots - a spectacular sight that has enthused millions of spectators since then. The figures behind the fascination: 38 OASE high-power pumps transport 920 tonnes of salt water per mi nute to 380 proportional swivel valves that have been especially created to achieve the desired effects. Not only did OASE engineers set a new world record for the longest bridge fountain - most of all they turned a matter of traffic into a matter of heart for the people of Seoul.

Do you want similar enthusiasm in our region? With our global network of qualified partners, we are at your side - also here in the Middle East, at our office in the Dubai Design District.

www.oase-professional.com

What makes a brilliant landscape architect?

Maher: Firstly, Listening is essential to really understand what the client needs.

Secondly, collaboration is important so we can get the best insights and ideas from everyone else. Landscape architecture is such a broad industry that we need to work with multidisciplinary professionals to ensure we properly design the space. We have to be open to other people’s ideas.

Lastly, systems thinking is also needed. Nature is interconnected. We need to see the bigger picture and not think in silos. People often focus on design and technical skills - I agree that they are essential but there are

CResidence

CCResidence

Landscape ME meets the Partners of Anterra Studio Mr. Maher Tayyar, Mr. Mohammed Al Suwaidi & Mr. Erick Yambao

many things to hone as a landscape architect. I believe a brilliant landscape architect should continuously grow their character as much as their skill.

What did your background in landscape construction teach you/how did it benefit you when starting out as an LA?

Maher: It made our design process more grounded in reality. A big part of design is working with limitations and challenging those limits. With the construction background, we created internal processes and standards aligned with site expectations. We also became more collaborative and iterative with our process. We work with suppliers’ knowledge and skill set and use it in our design details.

One of the most important aspects of landscape design is its influence on quality of life and social interaction. How has this changed in the aftermath of Covid?

Mohammed: Months of isolation opened our eyes to the necessity of connection. We’ve had a lot of clients who bought properties outside the city so that they can have more open space, live closer to nature, and spend more time with their families. We became more aware of our deep longing to connect with nature, understand its benefits, and in a way it made us see what our priorities in life should be. It reinforced theTResidence

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De La Salle University Campus

purpose of Landscape Architecture in our world and how we as a collective can help shape spaces that improve our quality of life.

You operate in both the Philippines and UAE, how did you manage this?

Erick: I love that as an industry as a whole, we are embracing globalization, inclusion and slowly adapting to a more progressive work culture. It allowed us to open up in Dubai and Manila. This was not available to the industry 10 years ago.

Despite the obvious differences in climate and typographies. What are the other main differences between working in Asia and GCC?

Erick: There are a lot more similarities than we think. The plants here in Dubai are also commonly seen in Asia, despite having significant differences in climate. The main difference to me is the culture. We design for people and understanding the local culture affects the project’s success. It affects how a project is designed, and we see it in its underlying purpose.

For example, in Dubai, the mindset is there are no limits, and anything is possible. It reflects in the spaces that we see everywhere. Everything is bigger, better, and taller. In Manila, however, people focus on the essential and practical. So, we must work with what’s important. We have to be more resourceful and creative in problem-solving.

Green Park Residences

GTW Residential Compound

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What prompted you to start your own business Anterra?

Erick: During our 4th year operating in Manila, we were designing a lot of large-scale projects already. It was obvious that this market was very different from high-end residential clients. They have a different set of needs, so we created a team solely focused on commercial projects. Our operations, processes, and standards were also different - it was obvious we had to create a new company and a new brand for this one.

The timing of Mohammed and Maher’s contact with me about a potential Dubai venture was ideal. Landscape architecture presents many opportunities, and I’m glad to have partners who see them as well as I do.

You are only a few months in but what’s been the most challenging thing so far about running your own company?

Mohammed: The difference in time zones is noticeable, but as long as we’re flexible, that’s an easy fix. Culture is something that we need to work on as well as finding the right chemistry and collaboration for an international company. We are a mission-centric organization, and our services depend on the growth of everyone. Our corporate values and visions have to be aligned internally so we can focus on doing good quality work. This might take some time, but I think it’s essential to build the right foundation for Anterra.

Manaoag Walkway

Pangasinan Boardwalks

Park Water Residences

What would you like your company’s signature to be? Tell us about your plans for the future and the type of reputation you hope to create.

Mohammed: We want to expand beyond landscape architecture and take the lead on sustainability. Anterra means One Earth. We named it as such because we believe in creating a positive environmental impact.

It’s our industry’s responsibility to lead this initiative and help clients make this choice. Climate change is a real issue, and we want to ensure that future generations can still appreciate our designed spaces.

Roxas Boulevard

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Tarlac Capitol

Solenergy Palawan

How important is being a mentor to you for the next generation of landscape architects and designers?

Maher: We envision Anterra as a platform for future leaders in Landscape Architecture. We want something inclusive, meaningful, and pushes our people to grow. . For us to create impact we have to be able to embrace the ideas of the next generation and prepare for their future roles.

What advice do you give yourself daily?

Maher: Stay hungry. Stay foolish. Stay grounded. That’s Steve Job’s famous quote. I added “stay grounded” to remind myself to keep my ego in check while we pursue big things and explore new ideas.

T.O.W.N

Saudi Landscape’s stamp on the Jeddah Grand Prix helped to elevate the city’s reputation as a serious sporting venue

BUILDING A SPORTING LANDMARK

Saudi Landscape Company (SLC) focuses on designing and building places that create a positive impact on both society and the environment. They do this by analyzing the history, current state, and context of each project. In doing so, they are able to develop sustainable landscapes that are aesthetically pleasing to all of the senses, whilst maintaining the space’s natural integrity.

Jeddah Grand Prix

After a long bidding process, Saudi Landscape (SLC) secured the contract to be involved in the first Saudi Arabian Grand Prix held in Jeddah corniche in December 2021.

The event showcased the marvel of the city of Jeddah; a city that is home to an extensive waterfront overlooking the Red Sea. The challenge for this

project was to create a space that would remain as a permanent landmark of Jeddah’s landscape for generations to come. Another goal was to strengthen Jeddah’s position as major tourist, sports, and sustainable destination in the Kingdom of Saudi Arabia by creating an everlasting landmark that would inspire millions through the Grand Prix event, but also through a stimulating landscape design.

Sustainable approach

The importance of the event could not be underestimated, it’s the epitome of motorsports’ championships. Motorsports enthusiasts gather from across the globe

to watch the world’s best drivers compete in the fastest street circuit in the world, overlooking the breathtaking red sea with nonstop entertainment. This gave SLC the opportunity to not only design the space for the event, but also take on an educational role in fulfilling the Kingdom’s vision to use sustainable approaches to the landscape’s structure that influenced the events onlookers in creating an environmentally conscious, carbon neutral country.

SLC’s scope of work was specifically to design the open spaces surrounding the circuit, which included parks and all its elements (soft-scape and hardscape), from the necessary infrastructure,

Kids play area with interactive Dry-fountain

Experimenting conceptual designs where pedestrians, cyclists and those who use public transport should be given priority when new roads are built or upgraded.

Early stage bird’s-eye visualisation

lighting design, service buildings, and kiosks. The overall landscape area was parallel to the main road and divided according to the main element of the circuit. Since the sight was leaner than most, a site curvilinear spine path was introduced to allow a clear geometrical order to shape the journey and enhance the connectivity throughout the zones for pedestrians and cyclists, thereby providing a strong relationship between landscape architecture and the visitors. Each zone served the site in its own way. For example, one zone contained colorful sports courts, imaginative children’s playground and a dry fountain area for kids to play. Most notably perhaps was the Paddock which displayed high rising greenery expanding evenly throughout the area. SLC’s goal was to create a place that acts as a large urban park that offers the city of Jeddah a place to escape reality. With long walkways for pedestrians, sports activities, cycling lanes for bikers, and a variety of different sports courts for an array of extra-curricular activities, parks with a

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Water feature cut-through.

multitude of different vegetative plants for civilians and tourists enriching the area’s biodiversity, restaurants and cafés as well as water features along the waterfront. The design and feel of the site exuded modernity and simplicity at the same time, allowing the landscape to become the city’s protagonist telling the tale of Jeddah’s history and culture. With its myriad of trees, shrubs, climbers, ground covers, which turned the site into a landmark for all to see, experience and visit, promoting the overall image of the country and its economic and touristic value.

Bird’s-eye view to the sports area

iOpen lawn passage to recreational and sports area

Premium Landscape area

A COASTAL RETREAT

Architects Yodezeen have masterfully balanced luxe lifestyle, elegance, and privacy in this grand estate in UAE.

Yodezeen architects have created a perfect balance of coastal living in a safe family enviroment with their design of ‘Villa Estate’.. The sculpturesque composition of the architecture emphasizes the quietness and serene nature of island life.

The architecture and design include all natural materials: textured plaster, and thermal wood, and the paths are lined with sandstone. The villa

comprising of 1,495 square meters, includes a private beach, an entry point, and a large private courtyard. It has five bedrooms, each with a private bathroom and dressing room. A large terrace allows you to spend all your meals in the fresh air, and a spacious courtyard opens up a green zone. The villa has its own gym, swimming pool, sauna, jacuzzi, and hammam.

“The landscape is unique in its design, and its aesthetic can be visible in the careful selection of natural materials. The main task for landscape solutions was to fit modern forms of architecture into the existing nature of the island in order to achieve the effect of naturalness and relaxation,” explains Artem Zverev, Artem Zverev, co-founder and lead architect of Yodezeen.

Yodezeen’s team carefully placed sandstone flags opposite the contrasting blue water to create

a feeling of the marine coloring atmosphere, and the shades of this material echo the coastal sand.

The beauty of the expansive greenery is the vocal point of the outdoor area and emphasizes every detail of the existing environment. Light plays with architecture and design with the help of artistic milling on the roof. Unusual pergolas above the terraces protect owners from the scorching sun, and their shape and silhouette echo the foundations of the ethnicity of the Middle East region.

Project Name: Estate Villa

Project Area: 1495 sq.m

Date: In progress

Project team: Artem Zverev, co-founder and lead architect; Arthur Scharf, co-founder and lead architect.

A Family’s Tribute

Completed in 2021, the Mosque in honour of Mohamed Abdulkhaliq Gargash, a prominent UAE businessman who passed away in 2016, is a contemporary place of worship. It’s quietly masterful in its use of form, materiality, and controlled natural light to evoke a sense of calm, spiritual connection, and to transition the worshiper from the outer material world to an inner sense of being. The mosque is one of the first

in the UAE to be designed by a female architect, namely, Sumaya Dabbagh, the Principal Architect and Founder of the Dubai-based studio, Dabbagh Architects.

Dabbagh is one of only a few Saudi female architects of her generation, and among a handful of women architects leading their own practice in the Gulf region. With a reputation for crafting culturally relevant buildings in dialogue with their

Saudi born Sumaya Dabbagh is the first female architect to design a Mosque in the UAE; built in the name of the Late Abdulkhaliq Gargash

surroundings, she places an emphasis on the intangible in architecture; seeking to create meaning and a sense of the poetic in order to form a connection with each building’s user. Previous projects include Mleiha Archaeological Centre, a curved sandstone structure that rises from the desert in the small town of Mleiha, a UNESCO World Heritage Site. The project was awarded an Architecture MasterPrize in 2020, amongst other award wins, as well as being nominated for the Aga Khan Awards in 2018.

Creating a transition from the outer material world to an inner sense of being “As a gift to the community, and in honour of the late patriarch of the family, Mohamed Abdulkhaliq Gargash, the Gargash family’s brief was to create a minimal contemporary mosque, a calm and spiritual space for prayer, for the community of the Al Quoz, the industrial heart of Dubai,” explained founder and architect Sumaya Dabbagh.

She continued: “Committed to supporting local industries, and in keeping with the practice’s sustainable approach to design, Dabbagh Architects sourced materials from the mosque’s locality: stone from Oman; concrete, aluminium, cladding, joinery, and ceramics from the UAE.

“At the heart of the design approach is the enhancement of the act of worship, and a transitional journey throughout the building so that the worshiper is ready for prayer and feels a sense of intimacy with the sacred.

“Creating a space of worship was a very particular design challenge. Prayer is a devotional act. It requires the worshiper to be totally present. With all of the distractions in our modern, busy lives, it can be challenging to quiet the mind and find an inner calm to allow for full immersion into prayer,” says Dabbagh.

Adding, “Through the design, a series of spaces are created that allow the worshiper to transition from the busy outer world and prepare for an inner experience.”

Light as a tool to create a connection with the divine “Natural light is used as a tool to enhance a feeling of spirituality, the connection between the earthly and the divine,

and to mark the worshiper’s journey through the building. Scale also plays a role in creating this sense of sacredness.

“Starting at the mosque’s outdoor entrance, perforated shading creates a threshold of perforated light that leads the worshiper to the ablution area, where physical cleansing invites the clearing of the mind and preparation for prayer. The route continues through to a lobby space, where further shedding of the material world takes place through the act of removing one’s shoes.

“Once inside the prayer hall, the visitor further transitions to a contained space where reading from the Quran may take place before prayer. All the while, the quality of light from one space to another alters to enhance the preparation process so that when the worshiper finally enters the main hall, they are ready for prayer,” explained Dabbagh.

Adding, “Muslim prayer is performed throughout the day at prescribed timings: at dawn, midday, afternoon, sunset, and at night. This discipline creates a human connection with the natural day and night rhythm. The experience created through the design of the mosque seeks to enhance this connection through a controlled introduction of natural lighting.”

This is done in three ways explained Dabbagh: Vertically, via the perforated dome, enhancing the spiritual connection to the heavens, the shafts of light from the narrow openings on the sides further create a sense of illumination from the divine; indirectly, behind the Mihrab, to highlight the point of focus in the prayer hall facing the direction of prayer; and, through a play of light from a series of small openings in the façade that follow the same decorative patterns of the interior.”

Pared down form eschews traditional architectural typology

By simplifying the traditional typology of the Islamic form, and stripping it away to its essence, Dabbagh Architects sought to avoid multiple blocks. In the process of design development, the main building volume was separated into two: firstly, the prayer block containing the male and female prayer areas, and secondly, the service block where the ablution facilities and residence for the Imam (the leader of prayer) and Moazen (caller of prayer) are found.

As a result of this division, a courtyard is formed, with has a sculptural canopy reaching out to reconnect the two volumes together. With its two arms almost touching, the canopy gives a sense of separation of the functional and the more scared: the practicality of the ablution ritual and the spirituality of prayer. In further contrast to traditional mosque architecture, the minaret is designed as a separate volume.

A reinterpretation of Islamic geometry and metaphorically protective calligraphy

The use of pattern and materiality in this project enhances the user’s experience as they journey from the outside into the courtyard and enter the building. Throughout the building, a triangular pattern gives reference to traditional Islamic geometry, but reinterpreted in a deconstructed contemporary language.

The exterior paneling uses this triangulated pattern in recessed and perforated elements, which gives the building’s skin a dynamic appearance. Internally, these perforations scatter natural light into the areas of worship with great control and care to illuminate the key spaces, and to create a calm atmosphere and sense of connection to the divine, as well as helping to cool the mosque’s interior. The double skin dome also allows natural light to enter, filtering it through the internal decorative skin, which incorporates the same triangulated pattern as the rest of the building. This filtered light creates a soft, naturally-lit prayer space tailored to the introspective mind during prayer. The reinterpreted Islamic patterns and triangulated geometry harmonize throughout the interior as lines intersecting across walls, carpets, and light fittings.

Calligraphy plays an important part in the overall design. A Surah (verse from the Quran) wraps around the prayer hall externally to create a metaphoric protective band, signaling the spiritual nature of the space upon arrival and instilling

a sacred energy throughout the building. The verse, “The Most Merciful”, is composed entirely in saj’, the rhyming, accent-based prose characteristic of early Arabic poetry, and references the sun, the moon, the stars and heavens and many other creations.

“At the end of each project, my hope is that the building will evoke the feelings and emotions that were envisioned at the outset. There is a defining, magical moment when the building is born and claims a life of its own. For this, my first mosque, that moment was particularly moving. I feel truly blessed to have had the opportunity to create a sacred space that brings people together for worship,” says Sumaya.

Technical sheet

Location: Um Suqeim Road, Al Quoz

Completion date: 2021

Site Area: 3731.27 m2

Total BUA: 1680 m2

Classification: Juma’a (Friday) Mosque*

Lead architects:

Dabbagh Architects - Sumaya Dabbagh, Sandrine Quoilin, Aleks Zigalovs, Hana Younes, William Java

Structure engineers:Orient Crown Architectural

MEP Engineers:Clemson Engineering

Landscape Architects:WAHO Landscape Architecture

Client: Family of the late Mohamed Abdulkhaliq Gargash

Height Ground + 1

Structure: RC Concrete

Cladding: GRC Cladding

Canopy: Aluminium Canopy on Steel Support Structure

Joinery: Wood Veneer/HPL/Solid Wood/Solid Surface

A SECRET GARDEN IN BAHRAIN

By John A. Davies

A little while ago, I had enormous pleasure in visiting a small inner garden, we had designed a decade ago in Riffa, a town in Bahrain. Partially enclosed within the footprint of the villa in which it stands and embraced by its walls; the garden represents a very pleasing surprise for visitors. Certainly, this was my own experience, for passing through the villa and seeing the garden through the French windows which opened on to it just thrilled me, while actually stepping into it filled my whole body with ecstasy. It was a profound spiritual experience – a glimpse of another state of being, a blissful state. Such experiences have punctuated my life and have fuelled my career, in so far as I have tried to express its beauty through the design of gardens and landscapes.

Perspective View of the Secret Garden

View of the Secret garden upon entering

Seeing the garden was a double surprise, for though we had designed it we had not known whether it had been built, since our contract had only covered design; that is, pre contract services. It sometimes happens that upon preparing all the conceptual and construction drawings for a project, it ends up not being implemented, so the fact that in this instance it actually had been built was a double surprise.

Plan of the Secret Garden

Referring to the design of the Secret Garden, looking back I think it was the Clients’ themselves, who coined the term and perhaps the architect of the villa also had this in mind. However, it inspired me to treat the area as a jewel, incorporating formal geometrical shapes. Being approx. 14m x 20m this is a relatively small space for a garden, especially one to be enjoyed physically as well as visually, and trying to reflect on the drawing board the image I had in my mind meant reducing every aspect to the minimum.

View of the Secret Garden from the opposite end

As mentioned at the beginning, the garden is embraced by the arms or wings of the villa. This impressed me as a nice touch by the architect responding to the prompting to the spirit of place, giving rise to an intimate union between the villa, representing the male principle, and the garden representing the feminine principle, thus resulting in joy or ecstasy, which was my experience as I stepped into it, so I take off my hat to the sensitivity of the architect - well done!

Many years ago I had a similar experience while designing a garden set in a rain forest in Nigeria. In that instance, the architect had designed the villa as an open arrangement, thereby allowing the garden to flow through it, thus forming an intimate link with the surrounding forest.

Setting out Plan

From the setting out plan it will be seen that the pathways are narrow being only 600mm wide, though the central area with the gazebo is sufficient for four persons to sit comfortably, while the two lawn areas are large enough to accommodate two tables, each with four chairs in the event of the garden being used for a family occasion.

Construction Details

Construction details are shown, for without them it would have been impossible for the formal pattern of the garden to have been implemented, and besides they are included as a tribute to the architectural and landscape draughtsmen who produced them, with whose support over the decades I have been blessed.

Planting Plan

The planting plan features the Italian cypress, (Cupressus sempervirens) at the corners, with the beds planted with bougainvillea trimmed with the Natal plum, (Carissa grandiflora adpressa) and the spider lily, (Hymenocallis narcissiflora). The walls are clothed with bougainvillea and the gazebo columns entwined by the common jasmin, Jasminum officinale, all of which I felt would be appropriate for the formal style of the garden; yet most of the plants which greeted me with so much joy was not those originally specified, and I must say the change was for the better, for it was these which gave the garden its charm and magical quality. I mean they were not pruned to conform to the geometry of the path network, they were free to express their personalities. I found this healing, for some time now following a serious protracted illness, I’ve been having mobility issues accompanied by constant discomfort in my legs; however, upon stepping into the garden, this malady simply vanished – at least for the duration of the visit.

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Immersed in that ecstatic feeling, I was reminded of the novel The Secret Garden by Frances Hodgson Burnett, which involved one of the characters, a neglected, orphaned girl Mary discovering a secret garden, to which she introduces her sickly, equally neglected cousin, Colin. Through frequent visits to the garden and tending the plants the negative characteristic of the children gradually dissolves and they become spiritually happier, healthier and friendlier – qualities which the experience of the secret garden in question have become enhanced in myself.

The garden serves as a doorway to happiness and sparkles with joy, its joyful, cheerful atmosphere resulting from a combination of the attractive style of the villa embracing it, the geometry of the garden itself, the contented personalities of the family and staff living in the villa - all ever ready with a smile, and of course the stars of the garden - the plants themselves.

Though the plants in the secret garden were not entirely as specified, nevertheless, as I say above, it was to the garden’s advantage since the substitutes had been allowed to freely express their personalities, so to say. A yellow flower of one of them, a hybrid hibiscus (Hibiscus rosa-sinensis) smiled at me and I smiled back. Henry Thomas Hamblin, known as the saint of Sussex, a county in England, described flowers as the smile of the divine, beautifully expressed in his little book The Message of a Flower.

In addition to being the smile of the divine, flowers can serve as portals direct to the divine or higher states of consciousness, and I vouch for this through personal experience. One such occasion happened during my horticultural apprenticeship many decades ago, I was hoeing a bed of young rhododendrons when the bloom of one of them, a white variety called Polar Bear, caught my eye. Captivated by its beauty, I found myself being drawn into it and as I entered, so to say, there was a gradual unfolding of my consciousness not unlike that of a flower – the lotus coming to mind, whereby I found myself in a blissful state at one with the world. .

Other plants noted in the secret garden include the Chinese thuya (Thuya orientalis) occupying the corners. Though a different species from that which had been specified; nevertheless, being of similar narrow habit to the specified Italian cypress (Cupressus sempervirens) it’s appropriate. The Italian cypress had been chosen initially because it complemented the Mediterranean style of the villa and being of slender habit there was no danger of its branches being in conflict with the building.

Cover page of the novel

The Secret Garden kobo.com

Mary finding the Secret Garden - kobo.com

Hibiscus (Hibiscus rosa-sinens)

Cover of The Message of a Flower Goodreads.com

Rhodendron Polar Bear Millais Nurseries

Though both Chinese thuya and Italian cypress are of the same family Cupressaceae, botanists have renamed Chinese thuya as Platycadus orientalis since it is the only species of its genus. Both species are long lived, the oldest known Italian cypress being the Cypress of Aburkuh reckoned to be over 4,000 years old.

RED IXORA (IXORA COCCINEA)

An evergreen shrub bearing bright red flowers in profusion, has always been one of my favourites, though it’s only relatively recently that I’ve been including it in planting schemes here in Bahrain, for it prefers acidic soil. However, planted in small gardens, where the alkaline soil can be ameliorated with regular applications of sulphur so as to reduce the pH to just below 7, the shrub will flourish and provide much pleasure.

STAR JASMIN (TRACHELOSPERMUM JASMINOIDES)

Meeting this shrub was a happy reacquaintance, again it hadn’t been specified in the original planting scheme, but that didn’t matter, it was a delight to meet it again. An evergreen shrub bearing small, sweetly scented single white flowers, their fragrance being given off most intensely at night.

Orange ixora, a variety of ixoria chinensis

Italian cypress (Cupressus sempervirens)

Chinese thuya (Thuya orientalis)

Red ixora (Ixora coccinea)

Star jasmine (Trachelospermum jasminoides)

A sprawling shrub with succulent stems armed with sharp, black spines and clothed with sparse, bright green leaves. The very showy red flowers are not what they appear to be, but are bracts or modified sepals which enclose the small yellow blossoms.

DESERT ROSE (ADENIUM OBESUM, OTHERWISE KNOWN AS ADENIUM ARABICUM)

CURTAIN CREEPER (VERNONIA ELEAGNIFOLIA)

Curtain creeper (Vernonia eleagnifolia)

This was a most pleasing surprise, for it was only the second time I’d seen it growing in Bahrain, the first occasion being in the gardens of the Ritz-Carlton Hotel in Manama. As its common name suggests it can be likened to a curtain, though a better description would be waterfall creeper, for this is what its long, cascading stems conveys to me, its mass of lilac white, daisy - like flowers enhancing the falling water effect.

RANGOON CREEPER (QUISQUALIIS INDICA), NOW BOTANICALLY KNOWN AS COMBRETUM INDICUM

Rangoon creeper (Quisqualiis indica)

This succulent shrub obtains its generic name from Aden (now part of Yemen) the country where it was first discovered. A clumped rootstock supports an open branched habit with young stems tipped with leaf clusters from which emerge bright pink flowers reminiscent of the rose, hence its common name. The long flowering period extends from spring into summer.

It was thrilling to see this evergreen clambering shrub in full bloom. The flowers are sweetly scented, reminiscent of honeysuckle, and have a threeday life cycle, first opening at night as white, gradually turning pink and finally red.

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Crown of Thorns (Euphorbia milii)

Desert rose

MURCOTT ORANGE (CITRUS X AURANTIANUM)

A delight to see, though regrettably it was not in flower at the time of my visit. The origin of the Bahraini rose is not known but it can be assumed to be related to the damask rose whose heavenly scented forms have been used in the production of rose water and attar of roses since olden times.

Other plants present in the garden include Allamanda (Allamanda cathartica) , Bougainvillea (Bougainvillea spectabilis) , False eranthemums ( Pseuderanthem reticulanum and atropurpureum , as well as Lantana (Lantana camara) ; however, I’ll save these for a future article and close with what I consider a master stroke in terms of completing the design of the secret garden. This was achieved by the simple expedient of introducing a flight steps down to the external garden. Though I recall considering the idea, I don’t think we were responsible for the design, for at the time the external area was rocky desert escarpment. So my congratulations to the individual responsible.

Meeting a specimen of this tree was another surprise since, referring to the Italian cypress selected for its narrow shape, the character of the citrus tree and its spreading branches is quite the opposite. However, despite this it’s okay. There are a number of long water shoot branches, though by cutting them back, the basic form of the tree will be restored.

BAHRAIN ROSE (ROSA DAMASCENA)

The steps together with the balustrading serve as a finishing touch combining the elegance of the villa with the magical appeal of the secret garden. Stepping into the garden was a catalytic and healing experience for me. It was transformational, serving as a conduit to a state of being filled with love and beauty, qualities inherent in nature and fine architecture, and which in a word translate as happiness.

Steps linking the secret garden with the exterior garden

Bahrain rose

Murcott orange

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SCHOOL AS AN URBAN GARDEN

New York based Studio Link-Arc shares an iconic education project in Shenzhen, China.

The Nanshan Foreign Language School (NFLS) in the Nanshan district of Shenzhen, China is a 54,000m2 elementary and middle school campus. It represents the final piece of a decade-long redevelopment process that saw a condensed urban village transformed into a contemporary vertical city. Surrounded by high-density residential development and commercial towers, the main challenge for the project was to regenerate an urban condition broken by contemporary development.

Strategy I: Horizontal vs. Vertical Connections with nature encourage creativity and promote new modes of thinking. One of the main objectives of the project was to create an intimate environment for teaching that would connect students to the natural world beyond the site. The dense verticality of the neighborhood surrounding the site made this objective even more pressing—the desire to create opportunities for students and teachers

to interact with nature is a driving force behind the design, leading the design team to create a horizontal, low-density school.

The NFLS campus is conceived as a sweeping horizontal garden that contrasts the dense, vertical urban environment it serves. The school intentionally breaks the distinction between building and open space to create a linear hybrid that includes closed spaces, semi-enclosed zones, and open green spaces. This low-rise composition allows the school to create an open oasis within a densely packed residential community that allows students to move seamlessly

between indoors and outdoors. This enables the school to create vibrant campus life and to reestablish a connection to nature within the site.

The project site has a natural slope. The southeast corner is low and slopes upwards to the northwest. Link-Arc’s design works within the existing topography. Larger program volumes (gymnasium, pools, dining halls, and auditorium) are nestled into the slope. These volumes create terraced platforms above which form a new ground plane dedicated to teaching spaces and play areas. This allows the teaching spaces to be arranged in a linear manner, without the need to develop the building vertically.

Strategy II: Interweaving the Garden

The linear nature of the teaching volumes creates many architectural possibilities. These volumes meander across the site, splitting seamlessly to create six unique courtyards, serving as semi-private enclaves for teaching and play. Each courtyard has a unique title: Entry Courtyard, Gathering Courtyard, Elementary School Courtyard, Middle School Courtyard, Sports Courtyard, and the Recreation Courtyard. Each open space is designed with a spatial theme and architectural strategy appropriate to its intended use. The continuous ceiling above the ground floor is painted orange, unifying the open spaces of the campus and creating a sheltered public zone that

provides access to every space in the project, thus responding to Shenzhen’s rainy climate.

In order to further connect the educational spaces to the outdoors, the linear classroom bars are staggered in sections. This creates exterior terraces that serve as main circulation corridors, and also ensures that all teaching spaces have access to sunlight and views. The sinuous motion of the classroom ribbons generates a series of interconnected outdoor spaces that are tailored to meet the needs of each teaching

area. The elongated courtyards of the specialized school and middle school turn into enclosed and protected courtyards for the primary school and library, or conversely, open into vast grounds used for physical activities.

Strategy III: Thin Section/ Ecological Innovation

The NFLS project intentionally breaks with conventional school design principles that typically divide a site into buildings and functional zones, opting instead

for a sectional organization that maximizes access to light and views for each classroom. This strategy allows for multiple sectional variations and creates diverse spatial conditions for recreation, interaction, and education.

Link-Arc conducted many design studies to optimize the building’s response to Shenzhen’s warm, humid climate. The staggered organization of the classroom bars allows each room to access light, while the single-loaded classroom layout promotes natural ventilation. The building’s facade treatment also serves to maximize the building’s climactic response. The northern facades are defined by high-performance glass

and operable windows. Facades facing east feature architectural shading devices that minimize solar heat gain. Areas facing south and west incorporate shading elements and perforated aluminum screens.

To mitigate stormwater runoff, the building’s public spaces are paved with permeable bricks, while the roofs are planted with sedum (this has the additional effect of minimizing heat gain on the roof). Solar panels on the roof provide up to 2,000 MWh of clean energy annually. Thanks to these design and technological strategies, the NFLS project was the first compulsory school project in Southern China to receive GBEL Three Star Label certification.

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