ME Consultant April 2014

003 APRIL 2014

INSIGHT AND ANALYSIS FOR CONSTRUCTION SPECIALISTS INTERVIEW

John Hitchcox, founder of yoo with Philippe Starck P.20

FEATURE

How design and build contractors affect consultants P.26

DESTINATION UNKNOWN Are the cities of emerging countries in danger of losing their identities?

PUBLICATION LICENSED BY IMPZ

SHAPING CITYSCAPES ACROSS THE WORLD

Hyder is an award winning multi-national design and engineering consultancy that has delivered landmark projects in over 100 countries for more than 150 years.

www.hyderconsulting.com

CONTENTS

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06

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003 APRIL 2014 IN PRACTICE COMPANY NEWS, ANNOUNCEMENTS AND INTERVIEWS

IN THEORY DEBATE, RESEARCH, AND FUTURE POSSIBILITIES

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24

NOTICEBOARD

Industry leaders give their predictions for the future

06

26

UPDATE

Will architects be swallowed up by design and build contractors?

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30

10 26

UPDATE

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36

48

FEATURE

Discovering whether global cities are losing their identities

UPDATE

Chilean architect to design Serpentine pavilion

Hyder Consulting’s Linden Stephens on the 2,000W society

ON SITE EXPLORING GREAT PROJECTS IN THE REGION AND BEYOND

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36

12

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FEATURE

GAJ reveals designs for Dubai hospitality projects

Project managers set to drive Kingdom Tower

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FOOD FOR THOUGHT

New appointments, awards and dates for the diary

OPINION

COMPANY PROFILE

BUILDING REVIEW

Hospitality giant Wilson Associates sets up in Dubai

The newly opened spa at the Ritz Carlton Abu Dhabi

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42

PORTFOLIO

PROJECT SNAPSHOT

2014 Pritzker Prize-winner Shigeru Ban

Dongdaemun Design Plaza in Seoul, South Korea

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46

GET TO KNOW

ON THE RADAR

Mohamed Jaber, head of electrical engineering at KEO

Singapore’s National Heart Centre and Heathrow T2

20

48

INTERVIEW

John Hitchcox, co-founder of yoo with Philippe Starck

DAY IN THE LIFE

Carl Wallace, operations manager, BK Gulf

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EDITOR’S NOTE

WELCOME

For this month’s building review, I visited the spa at the new Ritz Carlton Abu Dhabi. While it featured a lovely contemporary Arabian interior, the spa’s exterior – like the rest of the hotel – was unashamedly Venetian in flavour.

Of course, this type of mock-historic architecture is no anomaly in the UAE. The Park Hyatt in Dubai, is styled like a traditional Greek town and resorts on the Palm Jumeirah offer a timewarp back to the Ottoman Empire. There are even projects that take inspiration from specific buildings; a tower shaped like Big Ben, a double replica of the Chrysler Building and the upcoming Taj Mahal – among

other recreated historical monuments – in the controversial Falcon City of Wonders on the city’s outskirts.

Atkins’ Matthew Tribe points out that one of the strengths of the UAE is its ability to implement fresh ideas very quickly. He is, of course, absolutely right and two such examples immediately spring to my mind. Burj Khalifa, an engineering marvel and unsurpassed cloud-piercer at 828mhigh, was built in a mere five years.

More recently, The Beach by Meraas – an inspired low-rise outdoor precinct – sprung up in a matter of months.

As well as being daringly contemporary, both of are rooted in their place.

The audaciously futuristic Burj is inspired, in plan, by the desert flower, and has become the linchpin of the city’s skyline. The Beach, conversely, uses modern materials yet recalls the intimacy of the Arabian courtyard.

Although there is less pastiche architecture emerging than pre-crisis, it is still being built. Surely a contemporary interpretation of the Arabic vernacular is more apposite than simply replicating a defunct style from Europe? The UAE should be setting the pace rather than looking back.

Oliver Ephgrave Editor, Middle East Consultant oliver.ephgrave@cpimediagroup.com

GROUP GROUP CHAIRMAN AND FOUNDER DOMINIC DE SOUSA GROUP CEO NADEEM HOOD GROUP COO GINA O’HARA

PUBLISHING DIRECTOR RAZ ISLAM raz.islam@cpimediagroup.com +971 4 375 5471 EDITORIAL DIRECTOR VIJAYA CHERIAN vijaya.cherian@cpimediagroup.com +971 4 375 5713 EDITORIAL GROUP EDITOR STEPHEN WHITE stephen.white@cpimedigroup.com +971 4 375 5477 EDITOR OLIVER EPHGRAVE oliver.ephgrave@cpimediagroup.com +971 4 375 5475 ADVERTISING COMMERCIAL DIRECTOR MICHAEL STANSFIELD michael.stansfield@cpimediagroup.com +971 4 375 5497 MARKETING MARKETING MANAGER LISA JUSTICE lisa.justice@cpimediagroup.com +971 4 375 5498 MARKETING ASSISTANT BARBARA PANKASZ barbara.pankasz@cpimediagroup.com +971 4 375 5499 DESIGN ART DIRECTOR SIMON COBON CIRCULATION AND PRODUCTION CIRCULATION AND DISTRIBUTION MANAGER ROCHELLE ALMEIDA rochelle.almeida@cpimediagroup.com +971 4 368 1670 DATABASE AND CIRCULATION MANAGER RAJEESH M rajeesh.nair@cpimediagroup.com +971 4 440 9147 PRODUCTION MANAGER JAMES P THARIAN james.tharian@cpimediagroup.com +971 4 440 9146 DIGITAL DIGITAL SERVICE MANAGER TRISTAN TROY MAAGMA WEB DEVELOPER JOEL AZCUNA Published by

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IN PRACTICE

NOTICEBOARD

SHIGERU BAN WINS 2014 PRITZKER PRIZE UNDERSTATED MASTER BECOMES SEVENTH JAPANESE LAUREATE This year’s Pritzker Prize will go to Shigeru Ban, the seventh Japanese designer to win the biggest award in architecture.

With offices in Tokyo, Paris and New York, the 56-year-old is renowned as a ‘disaster architect’ through his humanitarian work – primarily using his signature cardboard tubes as a construction method. Ban also has a rich back catalogue of elegant designs for private clients, both in Japan and abroad.

Speaking from his Paris office, Ban said: “Receiving this prize is a great honour, and with it, I must be careful.

“I must continue to listen to the people I work for, in my private residential commissions and in my disaster relief work. I see this prize as encouragement for me to keep doing what I am doing – not to change what I am doing, but to grow.”

Pritzker Prize jury chairman, The Lord Palumbo, said: “Shigeru

Ban is a force of nature, which is entirely appropriate in the light of his voluntary work for the homeless and dispossessed in areas that have been devastated by natural disasters.”

The citation from the Pritzker Prize jury highlighted Ban’s experimental approach to common materials such as paper tubes and shipping containers, his structural innovations, and creative use of unconventional materials such as bamboo, fabric, paper, and com-

posites of recycled paper fiber and plastics.

Ban follows six other Japanese Pritzker laureates – the late Kenzo Tange in 1987, Fumihiko Maki in 1993, Tadao Ando in 1995, the team of Kazuyo Sejima and Ryue Nishizawa in 2010, and Toyo Ito in 2013.

The award ceremony will take place on June 13, 2014, at the Rijksmuseum in Amsterdam, the first time the annual event will be held in the Netherlands.

MY 5 CENTS

“From an urban scale, affordability is linked to density.

However, density in the UAE means the intensity of occupants per square foot, and therefore it is about the urban block rather than plot level. Barcelona has achieved higher densities through the densification of the urban block, around a courtyard. This densification process did not prevent the city from heavily investing in public and open spaces that contribute to the social life of its residents.”

NADINE BITAR, FOUNDER, PLACEMAKING

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NOTICEBOARD

DATES FOR THE DIARY APRIL 15-17, DWTC Dubai International Property Show www.international propertyshow.ae 14-16, DWTC Wetex www.wetex.ae

BURO HAPPOLD APPOINTS ABU DHABI DIRECTOR

ABBOSH BECOMES REGIONAL MD FOR HYDER

Structural engineering expert Andrea Scotti has been appointed as Buro Happold’s new director for the consultancy’s Abu Dhabi office.

Scotti, who has over eight years of experience in the Middle East, brings with him a wealth of multidisciplinary knowledge, gained internationally on a number of high profile projects.

His appointment to office director continues to strengthen Buro Happold’s position in the UAE capital. The consultancy is currently involved in some of the region’s most prestigious projects including the Louvre Abu Dhabi, the new National Bank of Abu Dhabi headquarters and several developments on Al Maryah Island.

Scotti’s appointment is part of a strategic plan to expand the Abu Dhabi office in both size and capability, bolstered by further integration with the firm’s more established regional hub in Dubai.

Following the promotion of Wael Allan to Group COO and chairman of the Middle East, Paul Abbosh has been appointed Hyder’s Middle East regional managing director.

Abbosh joins Hyder after 28 years with Atkins, 20 of which were in the UK where he held a number of business sector board positions in rail, industry and property.

He moved to the Middle East in 2006 with the task of diversifying Atkins Middle East and held the position of development director and regional board director for the regional business. A qualified civil engineer, with a Masters in construction management, Abbosh is also a member of the Association of Project Management.

He has secured, set up and managed a number of major design projects in the UK such as Cross Rail as well as the Dubai Metro Red and Green lines, Riyadh Metro Package 3, Masdar infrastructure package and the Al Ain HSE project.

22-24, ADNEC Cityscape Abu Dhabi/ World Eco Construct www.cityscape abudhabi.com MAY 4-6, Jeddah Centre for Forum and Events Cityscape Jeddah www.cityscape jeddah.com 19-23, DWTC Index www.indexexhibition.com JUNE 2, DWTC Hospital Build & Infrastructure Middle East www.hospitalbuild-me.com 12-14, DWTC Indian Property Show www.indianproperty show.com/dubai

SOARING ABOVE TALL BUILDINGS (200M+) COMPLETED IN 2013

ASIA

74% 16%

MIDDLE EAST

(54)

(12)

EUROPE

CENTRAL AMERICA

NORTH AMERICA

(4)

(2)

(1)

5%

3%

1%

SOURCE: COUNCIL ON TALL BUILDINGS AND URBAN HABITAT

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UPDATE

GAJ REVEALS HOSPITALITY DESIGNS ARCHITECT SHARES COMPETITION ENTRIES FOR BEACH AND CITY SCHEMES Exclusively for Middle East Consultant, Godwin Austin Johnson (GAJ) has revealed its designs for two hotel apartments located in Business Bay and the Palm Jumeirah Crescent Dubai.

Both projects are competition entries submitted to a developer whose name cannot be disclosed.

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According to Mouaz Abouzaid, senior architect at GAJ, the ‘city’ project in Business Bay has a “timeless elegance” with a strong identity reflecting the New York style.

With G+4 and a podium + 24 floors, the tower will contain 180 luxury serviced hotel apartments

– a mix of studios, one, two, three and four-bedroom penthouses.

Facilities in the business traveller-aimed scheme include a luxury spa with a jacuzzi and sauna as well as a high-tech gymnasium and infinity swimming pool.

Abouzaid elaborated on the design: “The building setbacks

in the lower levels. There is a transformation from the podium to the tower – the sleek verticality ends with a sky garden and the infinity pool to reconnect the guest with the city, taking in views of Burj Khalifa.

“In terms of materials, the main façade is a combination

UPDATE

of dark stone in the lower level, and a mix of limestone and curtain wall.”

Meanwhile the ‘beach’ project is described a contemporarystyled, five-star luxury vacation home comprising a basement level, a ground floor and seven additional floors. It offers 42

serviced hotel apartment of two, three and four-bedroom apartments and penthouses.

Abouzaid added: “The design intended to offer a sense of arrival, welcoming approaches, stylish amenities, easy circulation, and quality of spaces, spectacular views and crisp details.

“The plan form is a direct response to capturing the great view of the beach, and at the same time presenting a less permeable façade towards neighbouring properties.”

Although both schemes are in very different locations, the design brief was to cre-

ate harmony between the two.

Abouzaid continued: “The tower had been driven by the city while the midrise had been driven by the beach.

“The design approach for both developments is to create one brand in different locations under one common thread.”

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UPDATE

DUBAI AIRPORT MEP CONTRACT HANDED TO DSI RAIL DSI Rail, a subsidiary of Drake & Scull International, has won a contract worth $9.5m for a new airport passenger movement system at Dubai International Airport.

The Dubai Civil Aviation Authority has commissioned the construction of Concourse 4 at the airport, which will be connected to Terminal 1 via an automated passenger mover system (APM).

DSI Rail’s scope of work includes the production and submission of shop/fabrication drawings, supply and installation of MEP services throughout the APMassociated locations.

It will also provide signals, traction power, maintenance of area power, compressed air and communication systems as well as minor construction works.

EC HARRIS AND MACE PREPARE FOR CONSTRUCTION ON KINGDOM TOWER Above-ground work on the 1km-tall Kingdom Tower in Jeddah will begin on April 27, overseen by project managers EC Harris and Mace.

The two firms beat 13 rivals for the role and have been hired to ensure that the project hits its budget and construction timetable – with completion scheduled for 2019.

Contractor Saudi Bauer completed piling work for the tower in December, including sinking 270 piles up to a depth of 110m.

ACTS was appointed as quality control consultant, for testing works on 500,000m3 of concrete and 80,000 tonnes of steel.

The tower was designed by Burj Khalifa architect Adrian Smith and his firm AS+GG.

WORK STARTS ON LIBYA NATIONAL STADIUM The groundbreaking ceremony for the Libyan National Stadium, designed by architects von Gerkan, Marg and Partners (gmp), took place last month.

Libya will host the African Cup of Nations in 2017, and the new 71,000-capacity National Stadium is the tournament’s centerpiece.

Located at the western edge of the city, the stadium will sit within a sports park containing an indoor pool, a multi-purpose arena and a family sports facility.

The design reflects the origins of Tripoli’s name (city of three).

The form fuses three architectural elements: a stone stepped base, a curved main body for the upper balcony, and a roof supported by three arches.

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WSP 10 truths about BIM

truth

TAKING DESIGN TO THE NEXT LEVEL

ut tr

STAR DESIGNERS USE THE TOOLS

h

DON’T FORGET THE ‘I’

don’t forget the ‘I’ bIM Is More than pretty pIctures

BIM IS MORE THAN PRETTY PICTURES

taKIng desIgn to the next level star desIgners use the tools

THE COLOUR OF BIM IS GREEN

the colour of bIM Is green bIM WIll use less, Waste less and pollute less

tru

BIM WILL USE LESS, WASTE LESS AND POLLUTE LESS

BRINGING IN A TROJAN HORSE

th

BIM WILL DESTABILISE THE CONSTRUCTION INDUSTRY

5 7 9

WAITING FOR THE TIPPING POINT

truth

GOVERNMENTS MUST ACTIVELY PARTICIPATE

WaItIng for the tIppIng poInt governMents Must actIvely partIcIpate

truth

NO MORE LONE RUNNERS COMPANIES MUST WORK AS ONE

truth

no More lone runners coMpanIes Must WorK as one

A TALE OF TWO HANDSHAKES

SOFTWARE AND PROFESSIONALS MUST WORK TOGETHER

8 truth

THE OWNERSHIP SPAGHETTI

a tale of tWo handshaKes softWare and professIonals Must WorK together

truth

4 6

truth

brIngIng In a trojan horse bIM WIll destabIlIse the constructIon Industry

WE WILL NEED NEW CONTRACTS

the oWnershIp spaghettI We WIll need neW contracts

THE DIGITAL LANDSCAPE TAKES SHAPE THE SOFTWARE PLATFORM IS AT A CROSSROADS

truth

the dIgItal landscape taKes shape the softWare platforM Is at a crossroads

THE DNA OF FUTURE CONSTRUCTION

BIM WILL BECOME THE PLATFORM FOR THE WHOLE INDUSTRY

the dna of future constructIon bIM WIll becoMe the platforM for the Whole Industry

http://www.wspgroup.com/en/wsp-group-bim/BIM-home-wsp/ For more information about how we can add value to your project, please contact: For more information about how we canBIM addLead) value to your project, please contact: Gerry McFadden (Middle East Gerrygerry.mcfadden@wspgroup.ae McFadden (Middle East BIM Lead) gerry.mcfadden@wspgroup.ae

UPDATE

SMILJAN RADIC TO DESIGN SERPENTINE PAVILION CHILEAN ARCHITECT CHOSEN FOR LONDON’S SUMMER SHOWCASE Smiljan Radic has joined the likes of Frank Gehry, Jean Nouvel and Zaha Hadid in becoming the 14th architect to design the annual Serpentine Pavilion in Kensington Gardens, London.

Occupying a footprint of some 350m2 on the lawn of the Serpentine Gallery, Radic’s effort is a semi-translucent, cylindrical structure, designed to resemble a shell, which rests on large quarry stones.

According to Chilean Radic, the pavilion is a modern day version of a folly. He explained: “The Serpentine 2014 Pavilion is part of the history of small romantic constructions seen in parks or

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large gardens, the so-called follies, which were hugely popular from the end of the 16th century to the start of the 19th.”

Commenting on the design, Radic added: “The visitor will see a fragile shell suspended on large quarry stones. This shell, white, translucent and made of fibreglass, will house an interior organised around an empty patio, from where the natural setting will appear lower, giving the sensation that the entire volume is floating.

“At night, thanks to the semitransparency of the shell, the amber-tinted light will attract the attention of passers-by like lamps attracting moths.”

At 48, Radic is one of the youngest and least-known architects to have been handed the pavilion commission. He has completed the majority of his structures in Chile, including Museo Chileno de Arte Precolombino and Restaurant Mestizo – both in Santiago – along with many striking residential projects.

The appointment of Radic signals the gallery’s move away from ‘starchitects’, such as Gehry and Nouvel, towards lesser-known but well-respected names. Last year’s pavilion, designed by relatively obscure Japanese architect Sou Fujimoto, was one of the most popular to date, attracting 200,000 people.

The 2014 iteration is designed as a flexible, multi-purpose social space with a café inside. Visitors will be encouraged to enter and interact with the pavilion in different ways throughout its fourmonth tenure in the park ( June to September).

AECOM will provide engineering and technical design services as it did for the first time in 2013, while also acting as cost and project manager for the 2014 pavilion.

While this is the second Serpentine Galleries Pavilion for AECOM, its global chief executive for building engineering, David Glover, has worked on the designs for many of the previous pavilions.

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OPINION

Linden Stephens

WATT TO DO

How energy usage should be reduced to 2,000W per head This year’s Arab Future Cities Summit will focus on smart cities, a concept which – as it stands today – focuses on improving the lives of the people and driving the economy.

The key challenges for delivering a smart city paradigm are the use of technology to provide smart water and energy supply, transport and citizen engagements.

Crucially, the worldwide standardisation in communications between vendors and manufacturers of equipment has given utility operators a unique opportunity to provide a holistic approach to engineering projects and to determine intelligent urban policy for providing services.

There is a reference model for this holistic approach. The Swiss Federal Institute of Technology in Zurich terms it as the ‘2000-watt society’. They picture a society where everything is measured in watts and the average citizen’s overall continuous energy usage is no more than 2,000W per day by the year 2050.

The figure of 2,000W is approximately the current world average rate of total energy use. This compares to 6,000W in Western Europe, 12,000W in United States, 1,500W in China, 1,000W in India and anywhere between 8,000W and 12,000W in the Middle East.

The make-up of energy for a typical 5,000W society can be broken down into: 1,500W for living and office space (air conditioning, heating and hot water), 1,100W for food and transportation of these products to point of sale, 600W for electricity, 500W for automobile travel, 250W for air travel, 150W for public transport, and 900W for public infrastructure.

A more realistic figure for the Middle East would be similar to that of Europe, but certainly significantly lower than today’s consumption levels.

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How can the region achieve this? As an example, one of our Middle East clients is considering linking the control of their multiple district cooling plants (DCP) with their multiple electrical energy systems, so that when energy usage is high they can switch demand between district cooling plants. This technique relieves the energy usage on their primary electrical energy systems and will bring down their watts per person from 12,000W to 8,000W. It is important for consultants to work closely with technology vendors to determine the best tools and approaches for customers as they move towards a ‘smart energy’ environment. This includes smart applications, smart networks, and smart instrumentation. Another big ticket item for customers will be data storage for trending.

Customers will need to provide some support for data that is to be retrieved on a daily basis, and data that will used over the year for enterprise resource planning and enterprise asset management. This will see them moving towards cloud computing solutions working more closely with service providers.

The Middle East is keen to participate in creating energy policies that reduce carbon emissions. We are now seeing many projects where technology and smart energy are key considerations. While there is still a long way to go, it is a step in the right direction of achieving the 2,000W society.

Linden Stephens is technical director – head of MEP technology and automation at Hyder Consulting

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PROFILE

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Park Hyatt Abu Dhabi, exterior Park Hyatt Dubai, Traiteur One & Only Royal Mirage, lobby One & Only Royal Mirage, courtyard Park Hyatt Abu Dhabi, beach house

HOME FROM HOME Building on its solid regional portfolio, US interiors giant Wilson Associates has set up shop in Dubai

Having worked on some of the region’s most high profile hospitality interiors – including One&Only Royal Mirage, the Armani Hotel, the Shangri-La in Abu Dhabi, Dubai and Oman, as well the Park Hyatt in Dubai and Abu Dhabi – Wilson Associates is a familiar name to many in the Middle East construction industry.

Bearing in mind that the firm has been operating in the region for 20 years, completing more than 25 projects, it is perhaps surprising that the US-based giant opened an office in Dubai only last month.

The new office will be the MEA headquarters – adding to existing bases in Dallas, New York, Los Angeles, Singapore, Shanghai and Kochi – and will support the firm’s current projects in the region.

Of course, the company has its eyes on further opportunities stemming from the region’s hospitality boom, which will only intensify as the countdown approaches on Dubai Expo 2020 and the 2022 FIFA World Cup in Qatar.

It is not just hotels that are on the radar – the firm’s regional portfolio includes interiors for the Presidential Palace in Abu Dhabi. This huge project boasts the offices of the president HH Sheikh Khalifa bin Zayed Al Nahyan, the vice president HH Sheikh Mohammed bin Rashid Al Maktoum and the crown prince HH Sheikh Mohammed bin Zayed Al Nahyan.

Wilson Associates’ CEO Olivier Chavy, says: “The Middle East is leading the global race to design truly outstanding architectural landmarks, and we want to continue to be an important part of that story, just as we have for the past two decades.

“We want to continue our legacy of designing tomorrow’s landmarks. Wilson Associates has always been one of the industry’s most progressive firms, and now we are working with clients across the region to create new standards of luxury in hospitality.”

Founded in 1971 by Trisha Wilson, the firm has gone on to design over a million guestrooms in thousands of hotels worldwide.

Its international portfolio includes Fairmont hotel interiors in Kenya and Monte Carlo, Four Seasons interiors in Hong Kong, Shanghai, Sydney and designs for Hilton in Berlin, Beijing and Kuala Lumpur. The company also boasts a client list of more than 20 of the world’s top 100 billionaires.

The decision to establish a permanent presence in the Middle East was also driven by the social value of hospitality to the people of the region, according to Firas Alsalih, Wilson Associates’ new incoming managing director for MEA. He continues: “In the Gulf region, hospitality is not a mere economic strategy or commercial opportunity, it is a defining attribute and a cherished legacy.”

Alsalih says Wilson Associates intends to work closely with major educational institutes to help mentor students of design, and to foster emerging regional design talent.

“This mentorship programme will not only allow us to support the development of local talent, but will also give our designers unique cultural insights, enabling them to continue creating trendsetting designs with local flair,” he adds.

According to company executives, the opening of the new office in Dubai has been a very deliberate decision with a long-term

vision. They point to the firm’s Singapore office as a model for healthy organic growth and expect the same success in Dubai. The Singapore office opened in 1990 and has since grown to employ more than 160 professionals.

It has been an eventful few months for Wilson Associates – on February 28 it joined forces with East China Architectural Design & Research Institute Co., Ltd (ECADI), a practice behind five of the world’s tallest buildings (all in China). Moving forward, Wilson Associates will maintain its name and brand identity.

Chevy adds: “Partnering with another design powerhouse will present our global offices with exciting new design opportunities.

Together, we will offer our clients a fully integrated design service; a team comprised of the world’s most talented designers and architects.”

Wilson Associates’ partnership with an architecture firm could be seen as a way of differentiating itself from other hospitality interior practices, such as UK-based Areen Hospitality, which is also setting up shop in Dubai. One thing is for certain; hotel developers and operators can’t complain about a lack of specialist interior designers in the region.

WILSON ASSOCIATES VITAL STATISTICS 1971 year of formation 25 completed projects in MEA 20 years operating in MEA 8 regional offices

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PORTFOLIO

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PORTFOLIO

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Centre Pompidou-Metz, exterior Centre Pompidou-Metz, interior Cardboard Cathedral Naked House, exterior Naked House, interior

KING OF CARDBOARD

Middle East Consultant shines a light on the unusual portfolio of 2014 Pritzker Prize winner Shigeru Ban This year’s Pritzker Prize winner Shigeru Ban is not the typical ‘starchitect’ that pens flashy and high-profile megaprojects. For 20 years, Ban has travelled around the world to disaster sites, to help design and construct simple, low-cost, recyclable shelters and community buildings for victims.

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In fact, the awarding of the prize has drawn some public criticism, most notably from Zaha Hadid’s right-hand man, Patrick Schumacher.

The architect posted on Facebook: “I congratulate Shigeru Ban...love his work... however, I worry if the criteria of the Pritzker Prize...are now also being diverted in the direction of political correctness.”

Justifying its choice, the Pritzker Prize jury stated that Ban’s work, even in the private sector, “is never ordinary”. It continued: “Each new project has an inspired freshness about it. The elegant simplicity and apparent effortlessness of his works are really the result of years of practice and a love for building.”

Ban’s humanitarian work began in response to the 1994 conflict in Rwanda, which threw millions of people into tragic living conditions.

The architect proposed paper-tube shelters to the United Nations High Commissioner for Refugees, and he was subsequently hired as a consultant.

After the 1995 earthquake in Kobe, Japan, Ban developed the Paper Log House for Vietnamese refugees in the area.

He used donated crates filled with sandbags for the foundation and lined up cardboard

tubes vertically to create the walls of the houses. Ban also designed Paper Church as a community centre for the victims of Kobe. It was later disassembled and reconstructed in Taiwan in 2008. More recently, Ban created a Cardboard Cathedral in Christchurch, New Zealand, following the earthquake which severely damaged the city’s cathedral.

The use of cardboard also extends to Ban’s private work, for example the 2010 Centre Pompidou-Metz in France which was built using cardboard tubes and a membrane covering the arched roof. He has also used transportation containers as ready-made elements in museum construction.

In the 2000 Toyko project Naked House, Ban questioned the traditional notion of rooms and domestic life to create a translucent and magical atmosphere. This was done with modest means: walls externally clad in clear corrugated plastic and sections of white acrylic stretched internally across a timber frame.

Ban may not create spectacular schemes in the vein of Gehry and Hadid, but you’ll be hard pushed to find another designer that can make cardboard look so good.

SHIGERU BAN – TIMELINE 1957: Born in Tokyo 1984: Received Bachelor of Architecture 1985: Established private practice 2014: Received Pritzker Prize

17

PROFILE

GET TO KNOW…

Mohamed Jaber, head of Electrical Engineering at KEO and chairman of the Education Commitee at Qatar Green Building Council Freshly re-appointed as chairman of the Education Committee at Qatar Green Building Council, Mohamed Jaber heads KEO’s electrical engineering division in Qatar. A Canadian national, Jaber received a BSc from Oklahoma University and became a registered engineer in Wisconsin, USA and Ontario, Canada, amassing two decades of professional experience in North America.

More recently Jaber has spearheaded an internship programme for young engineers at KEO and is a keen advocate of nurturing emerging talent.

What are your main responsibilities as head of electrical engineering?

In addition to overseeing technical information, a large part of my role involves ensuring project deadlines and financial targets are met, as well as business development and proposal writing.

Another important aspect is the development of staff, through mentoring and training. A team that is motivated is the key to a successful project and the best way to ensure that efficiency and productivity levels are consistently high.

What do you enjoy most about your job?

The challenges. Every project brings a unique set of challenges that change over the lifespan of the project. I prefer to see them as challenges rather than issues or problems, and enjoy finding solutions and working with my colleagues to meet them in the best way. I don’t get stressed by challenges, but thrive on them and the lessons that can be learned in their solutions.

What are the key projects your team is currently working on?

18

been an exciting opportunity as has the QP District. KEO is about to celebrate its 50th year and I look forward to working on many more interesting projects.

MOHAMED JABER

Please tell us a little bit about the internship programme you founded. What is its aim and why is it important?

About three years ago, I was approached by Qatar University to develop an internship project. I worked with KEO’s HR and A&E services directors, and we devised a thorough internship programme policy. The programme has been very successful and KEO has hosted students annually since its formation. It is a very important component of young engineers’ education to be given ‘real life’ project scenarios to work on and understand the day-to-day challenges of projects. I also believe that KEO is a part of the community and that we have a responsibility. Training and mentoring young engineers is a way of giving back and becoming a stronger member of the community we work and live in. I would have appreciated the opportunity when I was a young graduate, but it was not available. I feel that this industry has enriched my life and career, so I would like to ‘pay it forward’ to those who are just entering the industry, as they will be the future of engineering.

The most exciting projects at the moment include the New Doha Zoo, Doha Grand Park, hospitality projects such as Hala Hotel and Salwa Resort, retail schemes like Al Sadd Mall and the Mall of Qatar and healthcare developments such as Hamad Medical Corporation Womens’ Hospital. Our work on the New Doha International Airport has

What advice would you give to young engineers?

My advice to all young engineers, and also for us more ‘mature’ engineers, is to give all the energy you have when training and try to get all the exposure you can to a broad range of projects. Be focused on the tasks given to you and ask questions continuously. You need to

“The problem is not in the codes and regulations, it is in the culture and in the practice.”

PROFILE

01 Section, Westin Doha Hotel & Spa 02 Exterior, Westin Doha Hotel & Spa 03 Interior, Westin Doha Hotel & Spa

01 NOTES :

02

03

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take advantage of every opportunity to gain the most and learn from the more experienced engineers around you. Listen, always, to your mentors and try to comprehend what they say without interruption. Leave the questions till the end of the discussion. Gain the respect of the team you work with. You gain the respect with your actions and enthusiasm for your job.

You have recently resumed your role as chairman of the Education Committee at QGBC. Are you encouraged or frustrated by the current level of sustainability within Qatar’s construction industry?

I am encouraged by the changes in codes and regulations that are pushing the issue to the forefront. However, the problem is not in the codes and regulations, it is in the culture and in the practice. I strongly believe that professional organisations need to adopt green policies and educate both staff and clients to force a change in culture. I am frustrated with the fact that there are so many conferences about sustainability but they all say the same thing.

There is nothing new that our profession is offering to keep the issue alive in a manner that forces a change in culture and in the practice.

Both changes are really needed in Qatar.

1

IFC-REVISED

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19

INTERVIEW

20

INTERVIEW

ALL ABOUT YOO

John Hitchcox, property tycoon and co-founder of yoo with Philippe Starck, on his company’s first Dubai project Featured in The Sunday Times Rich List, with friends from Mick Jagger to Kate Moss, and a house where Jimi Hendrix wrote Purple Haze, John Hitchcox is very much the rock star of the property industry. Even his business, yoo, is steeped in glamour and celebrity; in addition to its collaborations with the likes of Jade Jagger and Kelly Hoppen, the hotel and residential design company was co-founded by Hitchcox and the most famous interior designer on the planet, Philippe Starck.

Englishman Hitchcox was in the UAE to speak during a press conference for yoo’s first Dubai project – an $245m residential complex ‘The Atria’ for Deyaar in Business Bay. When summoned to the stage, Hitchcox waves his fists in the air like a headliner at Wembley Stadium. Yet in the post-conference one-on-one, he’s very down-to-earth, friendly and jovial, and you can’t really blame him for the occasional name-drop.

“Philippe and I are great friends and he’s coming to my wedding,” Hitchcox says, referring to his upcoming third marriage. “He is going to go down in history as having changed society in many, many different ways. Each year at the Salone [del Mobile in Milan], Philippe has done 60-70 products, while everyone else has done one or two. He’s astonishing. He’s very accurate and defined in the way he draws.”

So what roles do Hitchcox and Starck play at yoo? It’s very distinct, Hitchcox explains. “What has been lovely about this partnership is there’s very little overlapping. My role is to build the business and to advise him on whether what he is designing is viable. From there on in, he lets

[other designers at yoo] come up with all the taste and interior designs. It’s been a very nice partnership and I’ve had others in other businesses, but this one has been very, very special.”

Part of the reason for the success could be the differences between the two individuals. Hitchcox continues: “When we started this business we were getting on a plane together and travelling around the world. He’d sit on one side and I’d sit on another. I’d get to a new town and go round and see it all, while Philippe would sit in his hotel room and sketch away. He’s a genius. A genius is an outlier of society. In Philippe’s case he is focused on one thing.”

While Starck has had the one-track, designer’s mind, Hitchox – who is the son of respected architect Brian Hitchcox OBE – admits to being “confused” when it comes to his calling.

He elaborates: “My father was an architect and my grandfather was a builder – I’m confused between the two. I started off buying a tiny little house when I was 19 and turning it into two apartments. I did all the work myself and learned lots of lessons on what not to do and how to lose money, and slowly moved on to do-

“I’d get to a new town and go round and see it all, while Philippe would sit in his hotel room and sketch away. He’s a genius. A genius is an outlier of society.”

ing many, many more and incorporating much more design work in developments.”

Hitchcox went on to co-found Manhattan Loft Corporation in 1991, a property development firm which brought loft living from New York to London by converting post-industrial buildings. In 1998, he moved on to set-up yoo with Starck. “I could do the big bits – the architecture and the design and the layouts but when it came to interiors I was very poor,” he admits.

“I started to look for a collaboration and in my search I started with the top. I was very fortunate to form this alliance [with Starck].

“The concept manifested itself in the name yoo. The idea is it’s your [property], your life.

We set up this concept to work with great developers around the world, like Deyaar, to assist them with the design and marketing and branding in residential development.”

Currently the company has properties in some 50 cities around the world with a total portfolio of $7bn. “I don’t think that’s our success – it’s the market that demanded it,” Hitchcox adds. As well as utilising the name and talents of Starck, yoo also collaborates with famous designers such as Jade Jagger.

When it comes to intricacies of the design process, Hitchcox explains that yoo Studio [an impossibly glamorous collection of designers judging by its website] is “at the heart” of it all. He continues: “When we have a collaboration – with Jade Jaggar or Kelly Hoppen or anybody else – yoo Studio is the company that does all the work.

All of the intelligence from these designs is vested in yoo Studio – arguably it does more Starck than Starck does now. Without the collaborations, the studio represents 40% of our work. We enjoy doing it all. There’s not necessarily a face to yoo Studio as there is with the other collaborations.”

21

INTERVIEW

01 The Atria, Dubai

The Deyaar project, which will be not feature a celebrity collaboration, contains units in two styles: ‘minimal’ and ‘culture’. Describing the styles he says: “The ‘culture’ look is warmer, richer – it’s got more distinction to it. ‘Minimal’ is for people that like the clean, modern look. They can use it as a baseplate and put whatever they want on it, whereas the culture style is taking you down a route where you pretty committed to doing something that is often fun and out there.”

When asked if the culture style is more targeted at locals, he reluctantly replies: “I’m pressed to answer that question, but yes. It is more flamboyant. It [combines] our experience around the world with local flavour.”

With a total of 219 residential units and 360 serviced apartments, the project is actually on the average size for yoo, which has worked on schemes with 1,000s of units. Hitchcox continues: “For us it is a beautiful project because it encompasses everything about modern life.

Dubai really epitomises that. We’ve leapfrogged over a lot of the European models of a complete environment to the idea of a vertical village.”

He elaborates on this concept. “We have this huge growth of urbanisation and Dubai is a very interesting case. People are migrating into cities, away from their villages and into the new village. [The Atria] is a classic example. It has many of the qualities of a village… businesses to work, places to rest, places to play – all of those wonderful things.

“The only thing that’s different from the village that we were born in, is that people choose to go and live there. And that, in my mind, is where this word brand starts to exist. A brand is a piece of identity that exists around. [You] like to be with like-minded people. It’s a little bit like a club. Our focus is very much on the interior, but also on the whole quality of life that we give to the people. For me, branding is a word that straps around – in our case – great quality design, integrity, and all of the human values.”

Hitchcox refers to a Knight Frank report on yoo’s properties which concluded they are selling at 30% above the market place. “I think

22

01

“For us it is a beautiful project because it encompasses everything about modern life. Dubai really epitomises that.” that’s because people aspire to come and live in our particular community and that’s the brand,” he says.

“Also, the whole communication world has changed so much that people need identity to grasp onto. We’re one of those in the residential marketplace. Apple is another one in the computer marketplace. Ultimately it’s about great design – the emperor has got to have some clothes. You can’t just put a stamp on – it has to have very good quality, whatever it is.”

When asked if people are more conscious of brands in Dubai than elsewhere, he replies: “There’s a lot of brand consciousness and brand awareness and that’s because [emerging economies like Dubai] are new and looking to the outside for confidence and security, and the brand happens to be there.

“We’re unique because we’re the largest residential brand in the world – that’s because not many people have done it. Trump has a little bit, Armani a little bit, and a few other new ones are here. But there’s got to be content – you’ve got to deliver a great product. You’re only as good as your last project.”

According to Hitchcox, The Atria more than lives up to yoo’s standards. “This is a beautiful, beautiful project. It’s our first one in Dubai, which we’re very pleased and grateful for. It’s a great celebration of the renewed confidence of Dubai.”

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IN THEORY

FOOD FOR THOUGHT

THE BIG OPINION

SENSE AND THE CITY

1990

2010

2030

2050

At the end of last year, former Mayor of New York City Michael Bloomberg said: “The golden age of the suburb is over and it has been replaced by a new urban renaissance that is redefining the future.”

Bloomberg’s statement may be bold but it’s based on fact. In 1990, less than 40% of the global population lived in a city. This figure moved up to 50% in 2010 and by 2030 it is estimated that six out of every 10 people will be an urban dweller. For the first time in a century, America’s largest cities are growing faster than their suburbs.

There are numerous reasons for this increase in urbanisation, such as an improved quality of life, the revitalisation of downtowns, increased livability, lower crime rates, better amenities and a decrease in industrial factories.

But the appeal of the city is not just limited to individuals. 132 of the world’s top 500 companies have their headquarters in the United States, and two thirds of these 132 are based in cities. We are seeing a shift from isolated, self-contained fortresses to transparent, engaged, community contributors.

So why is this shift happening? Employees, primarily the young knowledge workers, are in need of amenities, transportation, and housing. For businesses, the proximity to clients, partners and prospects can lead to

24

WORLD POPULATION LIVING IN CITIES

improved client service and increased sales.

In addition, the increasing demands of global operations requires easy access to airports, preferably international, or other modes of transportation.

Typical amenities at a traditional suburban office park include a gym, parking space, cafeteria and outdoor area.

Major tech companies such as Google, Facebook and Apple have moved beyond that model, creating suburban campuses that imitate cities. Some of the amenities on offer include weekly lectures, gyms, on-site laundry and dry cleaning, hairdressing, car washes and oil changes, parking, running trails and outdoor space.

By relocating to a city, companies could offer all of these amenities and more; for instance, the utilisation of common space, parks and access to shopping.

Companies are gradually shifting away from suburban sprawl and relocating to urban areas. The change is imminent, and businesses that don’t understand and plan for this may suffer in the long run.

Tareq Abu-Sukheila is managing director of Gensler, Dubai

<40% >50% 60% 70%

SOURCE: MICHAEL BLOOMBERG, FORMER MAYOR OF NEW YORK CITY, DECEMBER 2013

“The old type of thinking is not doing the trick anymore. If we’re going to manage a city of two million, five million, or ten million people, you cannot constantly add new street and rail routes. You have to do it smartly and increase capacity by using what is there is a more intelligent way.”

DR ROLAND BUSCH, CEO, INFRASTRUCTURE AND CITIES, SIEMENS

FOOD FOR THOUGHT

THE BIG IDEA Proposed by a team of Chinese

within ancillary reservoirs.

designers, the ‘rainforest

Firefighters can use this stored

guardian skyscraper’ received an

water to extinguish a blaze in the

honorable mention in eVolo’s 2014

event of the fire.

skyscraper competition.

Towering over the Amazon,

Using capillarity combined with active energy, aerial roots with a

the scheme aims to protect the

sponge structure absorb liquid

region from the constant threat

without disturbing the Amazon’s

of fire and drought.

ecosystem.

The lotus-shaped design

Research labs enable scientists

primarily functions as a water

to monitor climate change and

tower, but is also a weather

the stability of the surrounding

station, scientific research centre

environment. These spaces also

and educational laboratory.

act as exhibition galleries for

Rainwater is captured and subsequently filtered and stored

tourists promoting environmental awareness.

“The UAE is the leader in the Middle East when it comes to delivering sustainability, and now with the focus on Expo 2020, durability will play a big role in building structures that will last well after 2020. More authorities and developers are adopting these philosophies. They are building with longevity in mind.”

USAMA JACIR, REGIONAL DIRECTOR, MIDDLE EAST, CORTEC

“The level of understanding and the appetite for transit-orientated design among clients in the Middle East is already on an exponential trajectory. As new public transportation, particularly metros and light rail, become adopted this enlightenment can only increase, and I firmly believe we’re going to see cars lose their prime status as the favoured method of inner-city transportation in an incredibly short timescale.”

DR GHASSAN ZIADAT, DIRECTOR OF PLANNING AND INFRASTRUCTURE, ATKINS

25

FEATURE

WILL CONTRACTORS TAKE A BITE?

Does design and build pose a threat to consultancies? Neha Bhatia investigates With key concepts – like value engineering and sustainability – gaining global acceptance, construction hierarchies have moved from the traditional client-consultant-contractor model to accommodate other techniques, such as design and build. While the method, as all others in any field, carries its inherent pros and cons, a critical curiosity envelopes the UAE’s consultancy sector; will design and build be the end of dedicated architectural practices?

Chris Service, operations manager at Khansaheb, says the extent of consultants’ roles will

26

depend on the method of design and build undertaken by project contractors.

“There’s huge variations in the way design and build is applied on projects,” he explains.

“From my experience, consultants pull together a rough design brief, which contractors then expand on to derive a lump sum amount they may charge for their services.

“Often, the client will simply pick a contractor based on the company’s past performance, which will then go on to manage the scheme from start to finish. Since there is no tendering process involved, such scenarios often pose difficulties,” explains Service, referring to the risk of deviance from the traditional bidding

process, where the choice of contractor is made based on competitive cost comparisons and quality offerings.

“Design and build may threaten the consultants, because often they have little to no involvement in the project,” says Service, when probed about the potential drawbacks of design and build for consultancies.

However, he is equally optimistic about the need for consultants as he is for the potential of design and build in the region. “Clients here, as cost-driven as they might be, are also equally quality-centric. A lot of them are particular about what they want and these demands extend to the contractors.

FEATURE

“If a contractor sacrifices product quality or project execution to stick with the specified budget, chances are the clients will reject that.

In the long run, contractors will understand the need to rope in consultants to effectively undertake design and build,” Service adds.

According to Andrew Barley, partner at GAJ, consultancies are far more equipped to deal with this apparent invasion of professional territory than it may seem from the sidelines.

He adds: “Leading contractors in the market have been employing architects to work with them, because they understand that while they’re great at building a structure, they need the right people to aesthetically design it.

“[Contractors] sometimes don’t know how to translate their ideas [into workable designs], and the execution of the idea cannot be crude, leading the architect-contractor marriage to be an excellent turnkey offering,” Barley explains.

While Barley’s point is valid, concern remains in the market regarding staff retention. With massive construction activity planned across the GCC in the run up to Expo 2020 and Qatar 2022, companies are facing the prospect of spiraling salary expectations in an increasingly competitive marketplace. If big contracting firms can offer the right packages then small design consultancies may struggle to hold onto talented people.

Barely is unfazed by this scenario. He continues: “Everybody loses people – that is the nature of the game. Nobody is indispensable – it doesn't make sense to have a project reliant on a sole person, especially at a time where headhunters offer mad amounts of money to young architects.”

However, Barely firmly believes that purebred design-driven architects will survive.

“What will eventually happen in the market is the creation of two distinct forms of architects,” he remarks.

“One is the boutique firm, which will be a handful numerically, perhaps not more than 10-15 people. The second type will be the

27

FEATURE

DEVELOPER VIEW “Design and build is in its infancy in the Middle East, and contractors therefore have limited experience as to how it works. From a developer’s perspective, the key advantage is that it saves time. The success of design and build is largely dependent upon the clarity of the scoping document, known as the Employer’s Requirements. This document should specify fully what the client requires to be designed and built. Design and build was successfully employed

“If functionality, not luxury, is the focus of the structure, then design and build is a wise option to use.”

by SinoGulf for the development

RAJ ACHAN, HILSON MORAN

SinoGulf

3,000-odd architects who are employed by the contractors. This will mainly emerge due to the fact that the architect, as an employee of the contractor, has the assurance that he will get paid on time, especially since design and build allows for one-time payment of dues,” Barley explains.

“In the end, design-architects will always matter, because design will sustain its significance in the project’s overall utility,” he adds.

Design and build could be a better option for structures which are relatively standard in terms of aesthetics and programme. Therefore, functional buildings such as offices and affordable housing are more likely to be undertaken with design and build than flagship hospitality or commercial projects.

“If functionality, not luxury, is the focus of the structure, then design and build is a wise option to use,” says Raj Achan, business development manager for Hilson Moran’s UAE operations. “A simple building, or, contrarily, one where the scope of design is likely to change, are both appropriate for employing design and build – both scenarios can benefit from the sole responsibility of the contractor.”

Service believes design and build may not be appropriate for clients developing luxury projects. “Design and build works well if you’re building on deadline. Say, a local office has to

28

open up within a week with employees waiting to move in – this kind of standard construction can be undertaken with design and build. However, the method can’t work for choosy clients, who are hoping for top-of-the-line materials and sanitaryware.”

Naturally, then, cost sensitivity remains a crucial factor in the application of design and build. Achan believes design and build’s greatest advantage is the benefit it offers through lump sum cash payments.

“There is the benefit of cost certainty due to one-time payment. The speed of project development – from conception to completion – is significantly increased due to the involvement of a single party responsible for the project,” he says.

“Responsibility being assigned to a single project entity also enables fluidity of design approvals, alterations and amendments,” Achan continues.

Design and build, in its essence, is viewed as a construction process where clients have minimal liability in the project; however, the fact that contractors are paid for their services in a single transaction is often considered a resounding risk of using design and build.

Achan elaborates: “As the payment is done in a lump sum, this may translate into a high initial price since the contractor will want to ensure the payment includes his risk premium,” he

of its Capital House project – a 332 apartment building in Capital Centre, Abu Dhabi.”

David Cockerton, fund manager,

explains. “Additionally, the client has reduced control when design and build is applied – as against the traditional method – and this could result in ambiguous liability terms later on.

“Unlike the traditional method, contractors in design and build undertake both building processes which, while resulting in cost savings, could also influence clients to pick contractors based on price rather than design. This could go on to hinder project development at a later stage,” Achan warns.

Viewed simply, design and build involves mutual trust between construction parties who agree to pool their resources for a given project.

To Achan, the nature of the collaboration has the most influences on the outcome of a design and build project. “Communication is key,” he says. “Design and build cannot operate without uninhibited interaction between the contractor, client and other parties involved, such as sub-contractors and so on. Work cannot be undertaken from the “us” and “them” perspective.

“Coordination is crucial, as is it necessary to enforce clear lines of control and approval. Integrated teamwork and transparency is the most important ingredient for the success of design and build,” Achan concludes.

FEATURE

01

30

FEATURE

DESTINATION UNKNOWN

Is the tall building boom responsible for eroding the identity of cities in developing countries?

31

FEATURE

01 Hong Kong 02 Dubai 03 New York

Fifty years ago, North American cities such as Chicago and New York were anomalies – futuristic and vertiginous cityscapes unlike anywhere else on the planet.

Today the concept of the skyscraper has found its way to every corner of the globe, with high rises dominating landscapes once distinguished by temples, mosques or churches. As a consequence it is becoming increasing difficult to differentiate skylines of cities such as Moscow, Singapore, Shanghai and Dubai.

So are such cities in danger of losing their identities? Yes, according to Matthew Tribe, design director of masterplanning, urban planning and public realm at Atkins. “I think there is an identified risk of that happening, particularly when emerging countries look to symbols of the developed world and try to replicate. This leads to a homogenised approach,” he says.

“This is more likely to happen when you are in a very fast-paced environment where delivery is key and planning is secondary.

There is always a risk of people replicating rather than innovating.”

Yet according to Christopher Seymour from EC Harris, no skyline will be the same due to the natural desire to stand out. He remarks: “Vertical cities are becoming a keynote of many emerging markets and the diversity of design offered by the world’s best architects and engineers is providing a varying skyline.

32

“Innovation of building products and the natural human inclination to be different will continue to bring variance to the skyline of our cities while still providing valuable built assets that perform very real functions.”

Championing the case for one-off, iconic architecture, Harris adds: “The shape and design of a tower creates a sense of place which the surrounding area intrinsically benefits from. For example Downtown Dubai has virtually been created by the presence of the Burj Khalifa.”

Tribe believes that, while no two skylines will be exactly same, certain buildings or areas will be comparable. He says: “There are instances of skylines or towers that could fit in many destinations.

“China is the classic example, where you could probably find a tower from New York,

“Coming from one generation to the next, a city tends to lose its character because of its international influence.”

JEFF SCHOFIELD, SYNTHESIZE

02

Paris or London. I’ve been involved in replicating Little England in Shanghai. Even in Dubai there is a replica of Big Ben on Sheikh Zayed Road.”

Speaking at the recent Vertical Cities conference in Dubai, David Mizan Hashim, principal founder of Veritas Design Group, agrees that emerging cities are homogenising. He comments: “The cities of Asia are not only becoming more and more alike – they are becoming more similar to the cities in the rest of the world. Every city has to have its revolving restaurant, its urban park and main esplanade or boulevard. I’m sure when you wake up in a Marriott hotel in one of these cities, you are not really sure where you are.”

From a social perspective, Hashim believes that urban uniformity is positive rather than negative. “I don’t think it is necessarily a bad thing. Urban life, wherever you are, becomes similar. I think I have more in common, living in Kuala Lumpur, with an urban individual in say Berlin or Rio de Janeiro…than someone that lives in [a rural environment in Malaysia]…even if [they are] 10 minutes away.”

FEATURE

Also presenting at the same conference, Jeff Schofield, partner at Synthesize, is less enthused about certain international influences.

He says: “Bastakiya, a historic area in Dubai with wind towers, is surrounded by modern buildings which have a rather non-descript international style. Coming from one generation to the next, a city tends to lose its character because of its international influence.”

Schofield refers to these non-descript towers as ‘default’ architecture, and calls for more creativity from consultants and developers. “I think we can move forward with innovation as one of the primary forces. We should try to overcome the mundaneness of international standards and rise above that.

“It depends on having a developer who understands that the innovation in design is to their advantage. They can take new and interesting ideas and evolve a new city experience.”

A developer doing exactly that is Meraas, according to Atkins’ Tribe. He continues: “As can be seen in its developments such as Citywalk in Jumeirah and The Beach at JBR, Meraas has a very clear understanding of the needs 03

“In Dubai, a contemporary language is coming into the vernacular – this covers the choice of materials, dealing with shade and creating a human scale.”

DAVID MIZAN HASHIM, VERITAS DESIGN GROUP

of Dubai. It is the custodian of the city – everything it does has to add value for the citizens while ensuring the highest quality. As a consultant that’s exactly what you want to hear.

“These low-rise, retail-centric developments are an absolutely refreshing intervention into the urban landscape of Dubai and have hit the nail on the head. It’s worth noting that Dubai has the ability to respond and take on new ideas very rapidly – that’s got to be an absolute strength for a city moving forward.

While Tribe hails the intervention of lowrise, outdoor environments, Veritas’ Hashim suggests that vertical mixed-use communities, orientated around a transportation node, will be the way forward for modern metropolises.

He continues: “It is a natural part of the [urban] densification process. There is a strong sense of identity when you live in these ‘cities within cities’. It becomes like a nation state.”

Hashim points to Foster + Partners’ tripletower project in Kuala Lumpur, The Troika,

as an inspired vision of the future. Completed in 2011, the scheme combines apartments, offices, shops and restaurants within a single complex. Bridges link the three towers at level 24 to create a sky lobby with cafes, restaurants and bars.

“You have fantastic views of the city,” he says. “In a way these bars in the sky are better than the ones on the ground. Ten years ago, it would have been unimaginable to put these public elements in [tall] buildings. They are privatised public spaces – you are expected to buy a drink or something. I think that in the future there will be more truly public spaces which wind their way into a tower.”

EC Harris’ Seymour believes that these high-rise environments, with large internal public spaces, are appropriate for cities like Dubai. “The harsh climate of the Middle East means that street life is a phenomenon of internal spaces for many months of the year and the most successful tower projects blend their own internal context with that of the public realm very well.”

Yet he stresses that the external public realm should not be neglected. “When planned correctly, the public realm can interface with the context of a tower quite effectively. If we look at Jumeirah Lakes Towers in Dubai for example, the apparently crowded cityscape of multiple towers actually provides a walkable, accessible environment on the ground with cool breezes and shading.”

The vision of a city composed entirely of mixed-use high-rises does not sit well with Tribe, who argues that a widespread adoption will erode a city’s soul. “I would say that a high rise with a mix of uses is a good concept, but you cannot create such isolation,” he says.

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FEATURE

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“Social interaction of communities is a fundamental aspect of sustainable and livable cities. As human beings we find it very difficult to keep to our patch. We always like to explore and investigate and meet others in diverse communities.

“When a city becomes dominated by a particular way of living, whether it’s the car or verticality, you lose personal contact in all its forms. The soul leaves the place and the community is eroded. You’ve got to make sure you have the right qualities of buildings to ensure that the quality of life is sacrosanct. Ultimately, are people happy living in those environments?”

Hashim concedes that cities – even those that are vertical – will always have a historic centre. He continues: “Every modern metropolis will have to have its historic core. If it doesn’t have one it will create one. They will be slightly different of course. The Malaysian one will have a slightly different context than one in Europe.”

He also notes that some cities, such as Rome and old parts of Paris, will never become vertical due to preservation regulations. “I’m not proposing that those cities transform to this.

“I’m talking about the modern parts of cities, such as La Defence in Paris. I think it won’t be very long before this idea of vertical cities becomes part of our historical heritage,” he remarks.

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“When a city becomes dominated by a particular way of living, whether it’s the car or verticality, you lose personal contact in all its forms.”

MATTHEW TRIBE, ATKINS According to Hashim, the best approach is to embrace the inevitable and adapt to fit the context. “These ideas will make their way to your shores. It’s like a steam engine. The best way is to accommodate, adapt and contextualise to our own particular cultures and environments.

I don’t think it’s something we should deny, it’s something we should embrace,” he says.

Tribe agrees that contextualisation is the key to retaining a city’s identity. “I think there are significant historical and cultural refer-

ences that can be interpreted in many ways in a contemporary manner. In Dubai, a contemporary language is coming into the vernacular – this covers the choice of materials, dealing with shade and creating a human scale.”

Ultimately, it is down to the leaders, developers and consultants to determine what is best for each city, says Tribe. “We need to be confident in our own abilities to determine the right buildings for the place, and not for the investor who is maybe sitting in another time zone and wants to take advantage of a growing property market.

“The level of maturity and appreciation of lessons learned from the past is absolutely significant. The individuals responsible for taking a city forward need to appreciate city planning and land use planning. In the case of Dubai, the integrated and holistic approach to developing a city is now embedded in the DNA of the leadership, the consultants and the development teams.”

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ON SITE

BUILDING REVIEW

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BUILDING REVIEW

FRESH PERSPECTIVE The new spa at Ritz Carlton Abu Dhabi is an understated and elegant example of contemporary Arabic design

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BUILDING REVIEW

Tucked away in a whitewashed, tiledroofed annex, the exterior of the spa at Ritz Carlton Abu Dhabi Grand Canal is as Italianate as the hotel’s name suggests. That’s why you might expect – upon opening the meaty timber doors – an interior of polished marble, round arches, classical columns and a splattering of Roman statues.

Yet directly facing the doors is a large reception desk, in front of a striking contemporary mashrabiya screen and sleek brass chandeliers.

Either side are two passageways – the ladies’ area to the left and the men’s to the right. Both corridors are lined with rough flooring, pointed archways and adorned with delicate back-lit glass fixtures shaped like antique shields. It’s as Arabic as a chicken shawarma.

With a soft launch only taking place in December 2013, there were more staff than customers during our midday visit – something which will surely change when the complex fully launches.

The Arabic, or ‘benouin’, aesthetic of the interior was mainly due to the direction of the spa operation ESPA, according to the architect – California-based SFA Design.

Kara Smith, president/partner of SFA Design, explains: “With the goal of creating the best treatment facility in the area, ESPA’s vision was for a space that felt entirely at home in Abu Dhabi. With that direction in mind, SFA moved away from the Venetian feel of the hotel and the exterior, to an interior style that was imbedded with local, cultural influence.

“The client wanted the spa to be a place that not only appealed to hotel guests, but also local residents. The ultimate vision was to be the luxury spa of choice in the area.”

Of course, the choice of materials and colour was integral in creating the right feel for the spa.

Smith continues: “To contrast the hot, bright exterior environment, we wanted to establish a cool and calming ambience that could immediately be felt. We chose a palette of darker colors including golds, browns and deep burgundy colours to achieve this.”

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The finishes were all keep natural and rough, according to Ramez Rafaat, project manager for fit-out contractor ISG. “In the natural world, specifically the desert environment, you don’t find anything polished,” he says.

“The entire concept – if you look at what we delivered – involved rough finishes. You can see rough stone flooring, matte paints, wall coverings that don’t produce reflections and simple timber flooring. The only coatings were to provide protection for the materials. There’s as little artificial elements as possible. Even the metal has a rough effect.”

Other consultants included Macair for MEP and Mace for project management. Smith says that SFA worked closely with London's Visual Energy to achieve an “appropriate level of darkness and light”. She adds that the desired atmosphere was created with a combination of

wayfinding lights, highlighting and backlighting of the decorative mashrabiya partitions.

In addition, Barr + Wray was engaged as thermal treatment specialist. According to Peter Rietveld, managing director, Middle East, Barr + Wray’s responsibilities included the design, supply and installation of the hammam, steam room, sauna, experience shower, ice fountains and swimming pool MEP. The spa complex is split across two levels – ground and basement. The upper level contains relaxed waiting areas, filled with the obligatory ornamental water features and contemporary furniture, and an external deck with a small plunge pool. According to the spa’s staff, the deck will soon have direct access to the beach.

The mashrabiya screens and ornamental fixtures reoccur throughout the spaces, acting as project trademarks. Moving down to the

BUILDING REVIEW

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Corridors are lined with Arabic details The glittering salon area The impressive central hammam Reception desk with mashrabiya screen

basement level, via a staircase, the atmosphere changes. While the upper level is open and airy, the floor below is more isolated from the outside world – a dense network of small rooms, including a memorable relaxation room with reclining chairs, dark walls and barely any light, save from a large, intricate fixture on the wall.

“You’ll notice as you progress through the spa it gradually gets darker, creating spaces that are serene enough to fall asleep in,” says Smith.

Despite covering 2,000m2 of internal floor area, the spa feels rather small; this was intentional according to Smith. “The space itself is large – we designed it to feel inviting and intimate using beautiful partitions and luxurious material such as stitched leather panels to break up the space,” she explains.

The basement area clusters around the centrepiece of the entire complex – the Turkish-

style hammam. This circular room is covered entirely in muted Italian marble of neutral colours, with the tranquil ambiance further enhanced by soft lighting and back-lit translucent marble slabs in the walls and ceiling.

According to ISG’s Rafaat, the ceiling material of the hamamm changed from the initial

“We worked so hard to complete the project within the programme duration, without compromising any quality.”

RAMEZ RAFAAT, ISG

specification. He continues: “The initial design had a wood covering on the hamamm drum.

Yet this was unsuitable due to the temperature and humidity levels within the room. We convinced the team to change it to a durable paint with a sealant coat.

Rafaat stresses that the materials selection had to fit within the client’s budget. “The entire project has been certified based on supplier products, but if we used the regionally specifications it would have cost $9.5m to do the finishes. The client didn’t have the budget so he asked us to look at alternatives to get the same look and effect. We managed to do it on a budget of only $2.7m. We have used lots of equipment and quality materials but at a fraction of the price.”

He explains that careful sourcing was the key in keeping the costs down. “Instead of us-

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BUILDING REVIEW

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“You’ll notice as you progress through the spa it gradually gets darker, creating spaces that are serene enough to fall asleep in.”

KARA SMITH, SFA DESIGN ing Italian or other European products, we got products with the same durability, but at a lower price, from Asia.

"For instance, we needed seven or eight different types of glass mosaic. We ended up getting all of them from factories in Asia and managed to match the images that the consultants provided in terms of colour and pattern.”

Aside from this exercise in value engineering, another key issue was the tight delivery timeframe, according to Rafaat.

He continues: “The contract was for six months but due to certain delays, we had to

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do the physical work in four and a half months.

This was a big challenge.” Smith agrees. “One of the biggest challenges was an accelerated project schedule. The shortened time frame to finish the spa directed the selection process for most of the FF&A.” Irrespective of the budget and time constraints, the client still required a ‘five star plus’ experience, as they anticipate visits from dignitaries and VIPs. Quite remarkably, the final product managed to meet these high expectations, according to Rafaat.

“We worked so hard to complete the project within the programme duration, without compromising any quality. We have got lots of appreciation from different parties,” he says.

“For example, the inspector from ADNC went round and shook hands with our staff because the team couldn’t find any snag on what they were inspecting."

He continues: "I’m happy about the quality, and it was beyond my own expertise that we reached this level. What we did was a very good job. The spa is much better than certain areas in the hotel itself.”

Barr + Wray’s Rietveld adds: “We are extremely delighted with the finished project and have also had very positive feedback from both the spa management team and other professionals within the spa industry who have visited the site.”

The spa of the Ritz Carlton Abu Dhabi Grand Canal revels in a calm, contemporary Arabian aesthetic, perfect for hospitality projects. It is perhaps a shame that the adjoining hotel is inspired by a city in Italy rather than the one it is built in.

THE TEAM Client: Abu Dhabi National Hotels Spa operator: ESPA Architect: SFA Design Fit-out contractor: ISG Project manager: Mace Thermal treatment: Barr + Wray MEP consultant: Macair Lighting consultant: Visual Energy

PROJECT SNAPSHOT

DONGDAEMUN DESIGN PLAZA

Snaking its way through a historic area of Seoul, this huge cultural centre alludes to the cityâ&#x20AC;&#x2122;s past as well as its future

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PROJECT SNAPSHOT

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BUILDING DETAILS Location: Seoul, South Korea Site area: 62,692m2 Construction floor area: 86,574 m2 Façade cladding surface area: 30,000m2 Surface area of exposed concrete: 21,000 m2 Main steel structural span: 50m Area of convention hall: 3,000m2

OVERVIEW Opened to the public on 21 March, the Dongdaemun Design Plaza (DDP) is a spectacular cultural hub at the centre of a historic district of Seoul, now a hotbed for 24-hour shopping and cafes. The scheme aims to promote a diverse range of cultural events while encouraging creativity and nurturing fresh ideas within the community. Spaces include a design museum, design lab, media centre, seminar rooms, designersâ&#x20AC;&#x2122; lounge, 24-hour design market as well as art, exhibition, academy and conference halls. DDP was the first public project in South Korea to use BIM for construction management. This enabled the team to control the construction with much greater precision and adapt to the evolving client brief. It also streamlined the architectural design process and coordination with consultants within a very compressed project period. The scheme required the integration of the ancient city wall and historical artefacts within the composition, essentially blending the new with the old. The built up area is fringed with extensive landscaping which seamlessly connects the architecture with the public realm. In addition to staging the Seoul Fashion Week upon opening, DDP will also host five separate design and art exhibitions, featuring works by modern designers, as well as the prized collection of traditional Korean art of the Kansong Art Museum.

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PROJECT SNAPSHOT

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Location within historic district Ethereal interior Tree-like columns Close up of the panelling External landscaping Geology-esque angles In-built furniture

ARCHITECTURE ZAHA HADID ARCHITECTS Previous archaeological excavations discovered the remains of the ancient city and cultural artefacts on the site. These historic features form the central element of DDP’s composition, linking the park, plaza and city together. Throughout the design process, every building requirement was considered as a set of inter-related spatial relationships which define the social interactions and behavioural structure within the project. These relationships became the framework of the design, defining how different aspects of the project – such as spatial organisation, programmatic requirements, and engineering – came together. “The client’s vision must be congratulated. DDP continues Korea’s architectural and engineering traditions at the forefront of technology. DDP is a built demonstration and celebration of the skills and passion of the team who helped to bring this fantastic building to life,” added the architect in a statement.

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STRUCTURES & MEP ARUP Continuing its close relations with Zaha Hadid Architects, Arup was responsible for the building’s structure and MEP, as well as acoustics and lighting. The structure of the building – with a main span of 50m – utilises a double layer space frame and single layer rigid frame. One of the greatest challenges was the construction the exterior envelope – the cladding system consists of over 45,000 panels in various sizes and degrees of curvature.

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PROJECT SNAPSHOT

LANDSCAPING GROSS MAX

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Edinburgh-based landscape firm Gross Max was responsible for DDP’s surrounding green oasis. The design integrates the park and plaza seamlessly as one, blurring the boundary between architecture and nature in a continuous, fluid landscape. Voids in the park’s surface give visitors glimpses into the world of design below. The 30,000m2 park in influenced by traditional Korean garden design in terms of layering, horizontality, a blurred relationship between the interior and the exterior, and no single feature dominating the perspective.

GEOMETRIES EVOLUTE Austrian firm Evolute was responsible for surface analysis and panelisation. Its scope covered the design of panelisation seams and a classification of the aluminium panels. The cladding system contained a total of 45,133 pieces (50% double curved, 30% single curved and 20% cold-bended and flat). Parametric modelling, which included an advanced metal-forming and fabrication process, enabled the cladding system to be designed and engineered with much greater cost and quality control.

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FAÇADES 5F Basel-based 5F was engaged as a consultant for the entire envelope, including schematic design, research and system development.

The façade incorporates a field of pixilation and perforation patterns, which responds to the lighting conditions and seasonal changes.

At times it will appear as a single entity while on other occasions it will blend into the landscape; at night, the building reflects the lights of the surroundings. With the interplay of the built-in façade lighting, the building’s skin is designed to be animated and take on the characteristics of its urban settings.

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ON THE RADAR

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01 ARUP PREPARES FOR HEATHROW TERMINAL 2 LAUNCH With two months to go before the opening of Heathrow’s new $4.1bn Terminal 2, Arup is working with the airport to ensure that the terminal will be fully functioning from day one.

The new building, named Terminal 2: The Queen’s Terminal, will have undergone approximately 180 trials and been tested by 14,000 people.

Arup, together with Heathrow’s operational readiness

teams, is trialling and testing terminal processes and equipment, and delivering familiarisation training for the 24,000 airport staff who will be working at the new terminal.

Stephen Pollard, global operational performance leader, Arup, said: “After months of careful planning, we will shortly start running end-to-end trials with the help of thousands of volunteers to test each ele-

ment of the passenger journey.

These trials will enable us to identify any issues and improve operational performance before opening day – ensuring it has the minimum impact on passengers.”

Terminal 2 is the latest phase in Heathrow’s on-going transformation. Once operational, two thirds of Heathrow’s passengers will be using the new terminal facilities.

02 ONSITE COMPLETION FOR BROADWAY MALYAN’S NATIONAL HEART CENTRE The National Heart Centre in Singapore, designed by Broadway Malyan with support from local consultancy Ong & Ong, has been completed onsite.

The 48,0000m2, 12-storey building features light and open spaces, with a mixture of green courtyards, sky-gardens and landscape views to create a welcoming and calming environment while in keeping with the healing process.

This sense of openness carries through to the external finish, with the façade appearing to be stripped back to reveal the gardens

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and courtyards while connecting with the environment.

The project forms part of Singapore’s general hospital redevelopment, with the recently launched 17ha healthcare city, also designed

by Broadway Malyan.

When complete in 2030, it will serve 30,000 patients, visitors, staff, students and residents a day.

Floor space will be increased from 250,000 to 600,000m2, the number of beds will be increased by 25% to 2,200 and ten buildings will be physically connected, including Tan Tock Seng Hospital.

ON THE RADAR

03 MAISAMDESIGNED APARTMENTS TO OPEN IN ABU DHABI Capital House, a residential scheme with 332 units designed

by Maisam Architects & Engineers for SinoGulf, is nearing completion in Abu Dhabi.

With a built up area of 64,173m2 and gross floor area of 39,352m2, the project was designed with sustainability and efficiency in mind.

It is located in Capital Centre, near ADNEC and adjacent to a commercial scheme by SinoGulf, International Tower.

The project is notable for its use of design and build – with Maisam Architects & Engineers working closely with the main contractor Ali & Sons.

Rising to 30 floors, the lobby resembles a hotel, while facilities include a well-stocked gym and pool on a spacious podium.

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04 04 ADELAIDE CONVENTION CENTRE TRANSFORMATION UNDERWAY Woods Bagot’s Adelaide studio is currently delivering the transformation of the $195m Stage 1 Adelaide Convention Centre redevelopment from rail yard to landmark building.

Installation of a galvanised steel rain-screen has allowed the first fix of the interior walls at the lower levels of the building, providing the public an impression of the dramatic form.

The eye-catching rain-screen has been installed to provide a modular support for the stepped facade cladding.

The facade is inspired by the folded, fractured and weathered landscape of the South Australian outback. Completion of the final cladding is due by August 2014. However, the lowest levels of the six-storey extension are already being occupied by the client, who is maintaining full operational capacity for the duration of the project.

Stage 1 provides an additional 4,200m² of exhibition space that features a fully adjustable ceiling and mobile seating to cater for up to 3,000 patrons.

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THE BACK PAGE

MEP specialist Carl Wallace works for facilities management firm BK Gulf. He previously worked as senior technical manager at Transguard

A DAY IN THE LIFE OF…

“I don’t entirely switch off my work mode – my phone is always on and kept by my bedside; even while I’m asleep!”

CARL WALLACE OPERATIONS MANAGER, BK GULF

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MORNING

AFTERNOON

EVENING

My day starts at about 7am with a healthy breakfast – this includes fresh orange juice and bran flakes when I’m on a diet. I’m usually in the office by 8am. I take a break at around 10am, and this is when I usually get my coffee or go for a walk. Most of the work undertaken during this part of the day includes checking emails, working on tenders, collaborating with team members for updates and so on. I also get in touch with managers of establishments where our fire alarms have been installed. A large chunk of my morning is dedicated to follow-ups on existing projects and scheduling meetings for the next few working hours.

We take lunch at around 1pm. I try to ensure my meal is homemade, since that’s unarguably the healthier option. However, we do drop by the local eatery once in a while. A large section of my schedule postnoon is dedicated to site visits or working on tenders for future projects. Fire alarm maintenance is an integral part of what I do, and most site visits I undertake in this duration are focused on the upkeep and enhancement of the systems we have put in place across various structures. I like to take a walk again at around 3pm. This helps to relax my mind and keeps me from losing focus or slowing down as the day progresses.

I get done with work by around 6pm, but don’t entirely switch off my work mode – my phone is always on and kept by my bedside; even while I’m asleep! Once home, I enjoy reading and swimming after I’ve had dinner with my wife, around 7pm. I’m slightly outdated and prefer a good book after a long day, and particularly enjoy reading Stephen King and T.J. Thompson. I like being in bed by about 10.30pm, but there have been evenings when I get home at 9pm, or even later, because I’m stuck in traffic on my way back from Abu Dhabi. It is a part of the job, though, and I’m truly proud of the work we’ve undertaken in the emirate.

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