Urban Ethnography - Art as a Catalyst by Raghdan Hassan

URBAN ETHNOGRAPHY Art as a Catalyst

By Raghdan Abu Hassan

Â© Raghdan Abu Hassan 2015

A thesis book for the Final Architectural Project submitted to the Department of Architecture. School of Architecture, Art, and Design, American University in Dubai In partial fulfillment of the requirements of the Degree of Bachelor of Architecture Fall 2015

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

URBAN ETHNOGRAPHY Art as a Catalyst

Raghdan Abu Hassan

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

Thesis Abstract : Ethnography is the systematic study of people and cultures. It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study. I am the researcher, however, I am also the subject of the study. I am the architect, rejuvenating urban spaces by using art as a catalyst for change. Capturing the essence of the street & the square, and injecting it into the urban fabric that is Dubai.

In the vastness of space, and immensity of time, I only see you; my eternal pillars of love, support, and all that makes me, me. To you, I owe the journey that has brought me here. Mohammad, Hanan, Dana & Rayyan. No better companions than you, my beautiful parents, sister, and brother. For the unconditional love you’ve provided, the teachings you’ve taught, the guidance you’ve offered, and the success you’ve ensured. To family, for they are the link to our past, and the bridge to our future.

Thank you always. Love you forever.

â&#x20AC;&#x153;I wish I could look back and say that I have learned to love as much as I loved to learn.â&#x20AC;? Elif Shafak

No words can express the gratitude I have for certain people and their efforts in making this book come to be. As an eclectic, I take joy in acquiring new knowledge on a daily basis, and make that a top priority in the years to come. The people mentioned below are individuals whom have eased the journey by helping develop and improve the book before you: First & foremost, I would like to thank Tareq Abugharbiyeh for not only being a great friend throughout the years, but also for his beautiful mind and desire to aid those beside him. Abdulrahman Al Shafie & Omar Hammad for their insight into the mind of the reader. Mohammad Omar, for the words of wisdom he so willingly shares in times of need. Qais Abdelrahman, for devoting the time to listen and advise in moments of stress. The professors I have had the honour in being mentored by in my past 5 years. Last but not least, and most of all, Georges Khachaamy, for changing my perception of architecture, and molding me into the architect I am today. For a mentor who has inspired, supervised, and guided my process from finding the right subject to writing my last words. I thank you all.

How to read the book :

This book is constantly in a state of transformation. A state of evolution. As the reader progresses throughout the book, investing his time and attention, he or she acquires new intellect and new knowledge. This book derives itself on that concept. It develops a relationship with the reader, constantly in a state of reincarnation as it grows and evolves attempting new languages of design, colors, styles, and effects. Composed of 6 chapters, each with its own theme, the book functions as follows. At first, the book begins undefined, monochromatic, and lacking saturation. Then, it utilizes the three primary colors, as a foundation to establish, organize, and stratify itself. In chapter 3, it combines the three primary colors to generate a spectrum of colors, appreciating the mixture between one color and another. After that, the book attempts to reach its peak in color manipulation by appealing to transparency and utilizing opacity to form diagrams and obsolete ideas, translating words to visual illustrations for the reader to consciously instill a new format of data into his or her intellectual capacity. Towards the end, the book desires to disjoint and defy its constraints, hence leading to an implementation of outer glow, and appreciation of radiance. Lastly, the book finds itself within a state of epiphany, realizing that the epitome of creativity, and artistic expression is found in the source and conception of an idea or thought. The pencil. The tool used to illustrate an idea with the simplicity of a hand gesture is the derivative of creative implementation. Its how all artists, and designers alike, originate an idea.

Section 1

Articulating Architecture

Section 1

The Earth Without Art

UnDefining Art

Section 1

1.1 The Ineffability of Art

2.1

1.2 Delirious Dubai

2.1 A The Artists

1.3 Ephemeral No More

1.4 The Street & Square

Classifying Creativity

- The First Artist 2.1 B The Buskers - The First Busker

3 Case Studies

3.1 Cultural Complex Luz, Sao Paulo

3.2 11th Street Bridge, Washington D.C.

3.3 New National Gallery & Ludwig Museum, Budapest

2.1 P The Pedestrians

2.2

The Pitch & Muse

2.3

The Plaza

2.4

The People

Section 2

Section 3

Restart

Smart Placement

Partitioning Art

Restart

4.1 Programs of Case Studies

5.1 Planning the City

100

6.1 Project Proposal #1

4.2 Public vs Private Analysis of Case Studies

5.2 Art Hubs of Dubai

102

Project Proposal #2

144

4.3 Bubble Diagram

5.3 Urban Spaces of Dubai

103

Project Proposal #3

146

4.4 Occupancy

5.4 Site Rationale

104

4.5 Space Realtionship Matrix

5.5 Site Proposals

106

5.6 Selected Site

114

5.7 Historic Timeline

116

5.8 Site Analysis

118

6.2 Summary & Synthesis

142

148

UnDefining

Art

1.1 The Ineffability of Art The oxford dictionary defines art as “The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.” The oxford dictionary attempts to put to words, the universal definition of art and its practice, however, completely lacks to mention its value and importance, belittling its potential and impact on the world and its people. You see, art cannot be characterized, art cannot be constrained, and art cannot be composed. The oxford dictionary did however start off with potential in trying to verbally express what art is. You see, art is in itself, expression. It’s the sharing of ideas, thoughts, and concepts. Art is not necessarily a visual aesthetic that a person is content viewing. Not something you can feel, touch, and run your hands through. Not something you can smell, taste, nor hear. Art utilizes all 5 senses and makes you question whether a joint venture[1] of all 5 creates something new. Society constantly attempts to categorize or clarify what art is, or what makes an artist, respectively. That may have been possible in the age of the Renaissance[2]. However in the 21st century, social media has proven, that a homeless man or woman, has the potential to produce music through a trash can. A tattoo, which was once considered a visual association with criminals to portray gang membership; today, the tattoo artist is celebrated. Graffiti[3], originally thought of as a form of public vandalism, is heavily funded as brand of street art. In today’s world, the Renaissance man[4] can be found within everyone.

“ In today’s world, the Renaissance man can be found within everyone.” 17

1.2 Delirious Dubai Ahmed Kanna[5] from his book “Dubai – The city a corporation” states “Culture, he went on, should be thought of as a passage from childhood to youth to maturity to old age. “Youth is the search for identity”; the UAE is a culture still in its “youth.” The mission of architects is therefore to provide this youthful culture with its identity.” A leading metropolis born within 44 years, a city raised too wild. A child with no sense of belonging, a lost adolescence embraced by the ideals of the west. Why is it that Dubai is constantly characterized as this generic metropolis, building glass towers within the desert? Patrick Schumacher[6] of Zaha Hadid Architects describes the UAE by saying “We are trying things out for the first time which we wanted to try out, but couldn’t We have found an unusual degree of receptiveness to new ideas in the Gulf” (Brown, 2008) For Schumacher “the Gulf provides a research and development lab for the architectural industry.” (Kanna, 2011) According to that statement, it seems as if Schumacher is insinuating that the UAE is utilized as this platform of experimentation. A space for scientists, or in this case architects, to try and test out their latest gadgets. Symbolically speaking, the city is a lab rat. The urban space a playground. The people, well that’s just collateral damage.

“Symbolically speaking, the city is a lab rat. The urban space a playground. The people, well that’s just collateral damage.”

“Under condition of anonymity, several Emiratis, and not only older or more conservative ones, told me about feeling colonized by Western expatriates. They chafed at their city being treated as ephemeral, a guilt-free consumer resort, as disposable.”

It is difficult to explain how the marvelous city of Dubai was not always like this. There was a time Dubai was known as The Wasl, a connecting platform for the world’s sea voyagers, and although, this positive image is still resilient, multiple western critics attempt to bring the rising city, down. They refer to Dubai as a city that has swayed in the wrong direction, somewhat losing its path. They refer to Dubai as a magical place that lacks culture. In the contrary, Dubai is deprived of its culture. Although it attempts to rekindle the dying light of culture, it is always in such a progressive state of motion, to the extent it cannot seem to appeal to every populace. All these notions of design have welcomed and celebrated tourists to the point of no return. As a culture, we are welcoming, inviting, and of the hospitable sort. However, an highly certified ethnographer, that has written multiple books on the urban anthropology of Dubai. “Ahmed Kanna”, a name you have witnessed earlier, speaks of interviews he held with locals of this land; stating “Under condition of anonymity, several Emirates, and not only older or more conservative ones, told me about feeling colonized by Western expatriates. They chafed at their city being treated as ephemeral[7], a guilt-free consumer resort, as disposable.” Is this a mindset we wish upon the natives of this soil? Culture. A word used irresponsibly but yields such value and importance.

1.3 Ephemeral No More “We seem to live in a society which shows little interest in caring for its street environment. If it is true that the behavior of people is substantially a response to the environment in which they live, then certainly those responsible for what is built should take a critical look at themselves and at the worth of their contribution to communities. Buildings which reflect the ego of designers or which are experimental at the expense of everyday users create the climate for unhappy communities, and there seems to be no importance of buildings and their relationship to one another, perhaps it can also be argued that too much emphasis is placed on the actual buildings, and not enough on the spaces between them where people meet. Thus there is doubt about both the atmosphere created by the buildings and the spaces they define.” - David Cohen & Ben Greenwood A message in the form of design whether architectural or urban in its scale, is needed for Dubai. A city that knows where it stands, where it will ascend, and where it can accomplish just that, is a city everyone wants to be in. Dubai knows the value in art. In 2007, his HH Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE, Ruler of Dubai, established Art Dubai. The leading international art fair in the Middle East, Africa and South Asia. (Art Dubai, 2015) A few months later, spread across 250,000 Sq ft, Alserkal Avenue’s creative warehouse spaces came to life. (Alserkal Avenue, 2015) These creative hubs really improved the art scene within Dubai, by allowing painters, musicians, designers and other artists to truly express themselves towards a large receptive audience. With such initiatives accumulating quite the attention, Dubai began to invest in more and more art to the extent where, in 2013, his highness unveiled his vision for D3. A purpose-built design district that could nurture emerging local talent and provide a home for the region’s creative thinkers. (D3, 2015) You see, Dubai is aware that by funding such projects, and truly investing in art, it will become receptive to a whole new audience. Year by year, more and more people of different backgrounds and social groups are spending their time appreciating art, especially Middle Eastern art, due to the current situation of the region. Furthermore, with Expo 2020 declared and guaranteed, a hefty population of people will be coming through. A space to house these people’s creativity and influence, is a space that is in high demand.

1914

1971

2001

2015

1.4 The Street & Square How can we change the essence of a city, when it seems impossible to define what that essence is? We simply, go back. Back to basics. The word “road” has always been utilized to symbolize a sense of development. By paving new roads, we explore new milestones. One particular milestone they paved, has dissected the city to the extent where we, the people, can’t seem to overcome it. A river so long and idolized, a highway so extensive and embraced. It’s the people I mourn, the people I think for, and the people’s lives I will change. I plan to reinvent the street & the square, to bring back life to the forsaken pedestrian and rejuvenate the urban landscape. To invest and inject the missing cells to our inanimate roads, to focus on the individual within a collective community, and to offer the change this society needs, to change roads, into streets & squares. The street and the square, are the spaces where people meet. Where creativity can seep into the small crack that our routine life denies. They are the spaces for stories to be shared, for emotions to be expressed, and for talents to be exhibited. In short, I plan to construct a space for creativity, a space to inspire, and a space to express. A space that resonates, ignites, and explores the potential of reincarnating the concept of culture. A space for the street scholars and sikka[8] dwellers, a space that will re-inject life into the fabric that is Dubai. That, is a space we need.

“I plan to construct a space for creativity, a space to inspire, and a space to express. A space that resonates, ignites, and explores the potential of reincarnating the concept of culture. A space for the street scholars and sikka dwellers, a space that will re-inject life into the fabric that is Dubai. That, is a space we need.”

The E___h Without

___ Art

2.1 Classifying Creativity

I’ve come to define creativity as a chemical we produce, an energy we emit, and a vibe we vibrate. I’ve come to un-define art; however, relating it to a sensory form of presentation. Thinking through doing. In other words, what we do, how we do it, and potentially, why we do what we do to communicate thoughts, ideas, and concepts. That might sound very extensive, however that should be the case; multiple forms of expression are derivatives of art. An essential matter to emphasize is that art is expressed not in the thought, but in the form. What I mean by that is, if an idea remains intact within your mind, and only yours, then it is purely an idea and nothing more. Up until you implement it, in the sense where you potentially converse about it, attempt to illustrate it, or structure it, it is then translated into art. With that being said, there is a sense of tangibility to art, a sense of reception. We may all perceive art differently, however by definition, we collectively all perceive art nonetheless. Now that you’re aware of the matter, the solution lies in the people. That being said, I have oriented my attention towards 3 different social groups, and they are:

- - -

The Artists. The Buskers. The Pedestrians.

Having social groups categorized in this manner, allows for a much more diverse form of environmental interaction between artists, performers, and pedestrians. You may find certain professions or artistic works out of place; however, based on a studied spatial analysis, each artist/performer may find higher preference in being within that class, rather than the misconception of another. For example; Graffiti, as an art, has been categorized in this study, within the “Buskers”[9] class. Some however, may prefer and believe, that it resides, or should reside, within the “Artists” class, due to the fact that a street artist utilizes the skills of a painter and those who sub categorize within painting and illustration. The reason why that is not the case, is due to the fact that graffiti artists, are embedded and incorporated as original forms of buskers; furthermore, they draw inspiration and intent through culture, norms, and the people.

Itâ&#x20AC;&#x2122;s crucial to state that this thesis and future architectural project, focuses on the potential of reinventing, or redefining how street culture can be experienced. The street & the square are mediums of inspiration, the energy and aura found within such urban environments needs to captured and utilized as a catalyst for change. An urban space within the city that allows for a figurative injection of life to the pedestrian culture lacking in Dubai. A space for artists, buskers, and pedestrians to enjoy, utilize, and prosper from one another. That being the case, such a space would only allow for the application of specific arts and professions, and not the entirety of all the arts. Hence, I chose to target artists that accumulate a larger audience in this region, and ones that have easier access to what they do. Furthermore, taking into consideration that the motive for such a concept, is to also benefit the pedestrian within the city, hence, the space will present arts that will ignite ideas, euphoria, and allow for immediate appreciation rather than ones that take a longer duration of time to experience. By studying the history of artists, performers, and musicians that existed and came alive through the streets. I attempt to pinpoint what allowed for its development throughout the years, such so that I can make a difference and aid it in developing today. People began to express themselves and their arts within the streets due to the fact that they were not provided a stage. Allowing the street to become their stage. Fame brings the audience to the artist. Without it the artist has to find his or her audience. Hence, the street & the square. History has proven that the pedestrian, the audience of the street performer, was the easiest and most accessible target.

The Pedestrians

The Buskers

The Artists

2.1 The Artists A

The oldest art we know of is about 40 thousand years old. It was painted on cave walls or sculpted on rocks and consisted mainly of people killing animals. After a while, people started to write things down, and proper history began. Great Civilizations developed in Egypt, Persia, Mesopotamia, Greece, Rome, India, and China. Referred to as great due to the fact they were the first to express art in numerous ways, and methods. These Civilizations utilized art in multiple forms of expression, ranging from the documentation of history, language, cultures, laws, relations, and basically anything else you can envision. One highly emphasized topic of that age, was the envisionment and visual expression of multiple gods, deities, demi gods, and basically any story relating to a higher entity. In the Middle Ages however, the west was dominated by the church who disputed the validity of all the old gods and says in fact there is only one. Art can no longer feature certain interpretations of gods, but had to be about things that happened in the bible. Then came the Renaissance, and a return to the material world, real life places began being rendered in three dimensions, convincing use of perspective became wide spread, and the human body was shown as it really is. On the other side of the planet, eastern art continues to develop in its own distinct way, often presenting scenes from nature or the everyday world. Then came modern art, and dawn of the “isms.” Impressionism, Expressionism, Cubism, Dadaism, Surrealism, and other isms too numerous to mention. The experience of global war on our planet, the march of technological progress, and the popularization of theories about the universe and the human mind by the likes of Einstein and Freud, left its mark on our species. With that being the case, it began time to experiment. Human kind began to consider the potentiality of everything becoming art, hence the movement into Modern Art. A truly debatable “artistic” period of our time, however one that has had a huge impact on our present and future times. As you’re aware, my understanding of art, is that it cannot be defined; hence, it is impossible to characterize whether one form is art, is either good, or bad. This is due to the fact, that art, and all professions within the arts, are very subjective. What you might appreciate, another person might find repulsive. The matter of the fact is, whether bad or good art. Art is art; and to experience its potential, you need to appeal to the artist, for him or her, allows the art to be experienced in certain manners, certain senses, and in certain spaces. As mentioned earlier, only certain artist types and professions of the arts have been chosen to be practiced; this study is based on regional preference and liking (refer to chapter 2.4 for personal interviews with street scholars), immediate rather than extended practice of that particular art, and receptiveness to pedestrian life and experiences. The list of arts envisioned within the space is as follows:

Sculpture & Crafts

Painting & Illustration

Fashion & Accessories

Gastronomy & Culinary

Typography & Calligraphy

Landscape & Garden Design

Photography & Cinematography

Graphic & Visual Communication

The First Artist Even in most primitive men the need to create was part of nature. His skill and his talent, separated men from animals, the ability to think and implement his or her thoughts, is what allowed that form of expression. It is believed the first painting, and with it, the first artist were born around 40,800 years ago. Cave paintings (also known in archaeology as â&#x20AC;&#x153;parietal artâ&#x20AC;?) are paintings found on cave walls and ceilings, the exact purpose of the Paleolithic cave paintings is not known. Evidence suggests that they were not merely decorations of living areas since the caves in which they have been found do not have signs of ongoing habitation. They are also often located in areas of caves that are not easily accessible. Some theories hold that cave paintings may have been a way of communicating with others, while other theories ascribe a religious or ceremonial purpose to them. The paintings are remarkably similar around the world, with animals being common subjects that give the most impressive images. Humans mainly appear as images of hands, mostly hand stencils made by blowing pigment on a hand held to the wall.

Using sea-shells as paint containers and working by candlelight, or occasionally weak sunlight, prehistoric artists employed a wide variety of painting methods. Initially, they painted with their fingers; before switching to lumpy pigment crayons, pads of moss, or brushes made of animal hair or vegetable fiber. They also employed more sophisticated spray painting techniques using reeds or specially hollowed bones. Sometimes. In the cave of La Vache, archaeologists found a layer of charcoal underneath the black pigment of the paintings, indicating that a preparatory sketch had been made prior to the application of paint. More often, the silhouette of the animal, together with its basic features, was engraved in the rock with a flint, then painted with pigment. You see, even the cave man needed to express himself, and used any medium or material to do so. The need for art is born within us. This being said, a platform to express, showcase, or view that need is as vital as a curing dosage, healing the forsaken pedestrian.

â&#x20AC;&#x153;Even in most primitive men, the need to create was part of nature. The need to express and convey thoughts and ideas was something mankind was born with. The urgency of art, although undefined at the time, was completely orthodoxâ&#x20AC;?

It is challenging to come along an official and extensive history on street performers due to the fact that they were labeled as illegal acts and actions, classified as a public nuisance, and as a form of urban noise pollution. However, that’s not to say that those who came alive when they stepped onto the streets didn’t leave a story to tell. They left much more than simply a story. They chiseled a name for themselves. They gave birth to a space of their own. They defined the street space. They were known as, Buskers. There is no accurate definition of the term “Busker” and/or “Busking.” However in general, Busking is the practice of performing in public places for tips and gratuities. There are three basic forms of busking. Circle shows are shows that tend to gather a crowd around them. They usually have a distinct beginning and end. Usually these are done in conjunction with street theater, puppeteering, magicians, comedians, acrobats, jugglers and sometimes musicians. Circle shows can be the most lucrative. Some time the crowds attracted can be huge. A good busker will control the crowd so the patrons don’t obstruct foot traffic. Walk by acts are typically with the busker providing a musical or entertaining ambiance. There is no distinct beginning or end and the crowds do not particularly stop to watch. Sometimes an intended walk by act will spontaneously turn into a circle show. Cafe busking is done mostly in restaurants, pubs, bars and cafes. Musicians can frequently be found using this venue. Less commonly, some other types of performers may do shows in this fashion, such as balloon artists or caricature artists. Making a living on the piano bar principle (i.e. for tips) is done in a range of genres, including jazz, rock, and even “light” Classical style. Perhaps one of the most famous of these is Billy Joel, who rose to fame from working in piano bars. His hit song “Piano Man” was written about a six month stint he did in 1972 at the “Executive Room” piano bar in Los Angeles. A bottler is a British term that describes the person with the job of collecting the money. A bottler may also be called the “hat man” or “pitch man”. The term bottler came from a device old world performers used for collecting money. It was made from the top half of a glass bottle. It had a leather flap inserted in the bottle neck and a leather pouch attached. It was designed to allow coins in but not allow them to be removed easily without being noticed by the jingling of the coins against the glass. Bottlers were a vital part of the performance, and they used to provide their services to multiple forms of street entertainment. Flip the page to find out the range discuss

2.1 The Buskers B

“Much of the history of street performance is found in the laws that prohibit it” – Harrison Pepper.

Card Tricks & Magic

Clowning & Comedy

Contortions & Escapes

Juggling & Puppeteering

Acrobatics & Animal Tricks

Balloon Modeling & Miming

Fortune/Story Telling & Poetry

Dance & Musical Performances

Fire Eating & Sword Swallowing

Location can be the key. An act that might make money at one place and time may not work at all in another setting. Popular busking spots tend to be public places with large volumes of pedestrian traffic, high visibility, low background noise and as few elements of interference as possible. Good locations may include tourist spots, popular parks, entertainment districts including lots of restaurants, cafes, bars and pubs and theaters, subways and bus stops, outside the entrances to large concerts and sporting events, almost any plaza or town square as well as zócalos in Latin America and piazzas, and in other regions. Other places include shopping malls, strip malls, and outside of supermarkets and flea markets, although permission is usually required from management for these. In her documentary movie and book, Underground Harmonies: Music and Politics in the Subways of New York (Anthropology of Contemporary Issues), Susie J. Tanenbaum examines how the old adage “Music hath charms to soothe the savage breast” plays out in regards to busking. Her sociological studies showed that in areas where buskers regularly perform, crime rates tended to go down. She also discovered that those with higher education tended to appreciate and support buskers more than those of lesser learning. Some cities are encouraging buskers because they can be a tonic to the stresses of shopping and commuting, and can be an influence which is entertaining and beneficial for all. Some cities give preference to “approved” buskers in certain areas and even publish schedules of performances although in the USA they have to be careful that such things are not exclusionary, judgmental or discretionary. One essential concept to consider when designing an urban space of public use; is that, people attract people. A successful public space will have a compounding effect whereby the more people there are using the space, the more people who will want to use the space. Therefore, it is essential to provide a catalyst.[10] (Whyte, 1980) However it is incredibly difficult to implement what that solution might be, given the fact that busking, in the United Arab Emirates, is not permitted. Hence, the project becomes a space, where there is an exception to that rule. Allowing for the street scholars of Dubai, and the buskers of the heart of the middle east, to develop another home in the midst of the urban metropolis. Busking is still quite common in Scotland, Ireland, and England with musicians and other street performers of varying talent levels. These performers have not always been called buskers. The term busking was first noted in the English language around the middle 1860s in Great Britain. The word busk comes from the Spanish root word buscar, meaning “to seek” – buskers are literally seeking fame and fortune.

Some people stereotype buskers as being unemployed, homeless or beggars. Most buskers are not, and these terms are normally derogatory when referring to a busker. Some people will heckle buskers and stigmatize them as such regardless of their social status. Conflicts and fights over pitch can and do happen. However, having an organized structured space as the one proposed will deny the possibility of that occuring.

The First Busker The theater. The ballet. The opera. Broadway, vaudeville, movies, television. Such gestures of art and performances are heavily documented, and their history is well renowned. Unfortunately, little is known about the history of those who made those spaces come to life, become eternally remembered, and forever celebrated. The question everyone is interested in finding out is, who was the first performer? To say the least, it is difficult to truly pin down who the first performer was, being that such documentation is rarely found; that being the case, let’s emphasize what we define as “The Performer.” When I refer to “The Performer” I’m discussing those who tested out the attention they received from the public. Those who tried everything, to see what appeals to society. Those who implemented what the community they resided within, would react to, would enjoy, and would want more of. Those were the real performers. They were what sparked the idea, of funding an act, to generate profit. They were referred to as “Jesters.”

The Oxford dictionary defines the Jester as “A professional joker or ‘fool’ at a medieval court, typically wearing a cap with bells on it and carrying a mock sceptre.” Oh but he was much more than that. You see the Jester played the fool, however he was the wise fool, the joker who challenges power; it was the jester, and only him, who could taunt the king. The Medieval Jester held privileges which were not afforded to many other persons at court. The court jester was one of the few characters in the court who could freely speak his mind without causing offence and somebody who could use humor to mock, jibe and joke about the lords, ladies and nobles of the court. Jesters came from a wide variety of backgrounds and many of them were well educated. The Jester was capable of many acts, ones for the public, and one for the lords. These ranged from songs, music, and storytelling; additional ones included acrobatics, juggling, telling jokes, and magic.

“Jesters and fools appear throughout medieval history, folk law and legend. They are one of the most common and widely recognized archetypal character types found in culture and mythology throughout world history. Jesters and fools performed a variety of functions as entertainers, social and political critiques and perhaps most importantly as agents of change. They used an array of skills including wit and humor to reinforce cultural and religious fundamental values and principles.” (Baker 2015)

“You see the Jester played the fool, however he was the wise fool, the joker who challenges power; it was the jester, and only him, who could taunt the king.”

2.1 The Pedestrians P

Jan Gehl, a Danish architect, has written interestingly about the patterns of pedestrian life in a book, Life Between Buildings. He simplifies and divides outdoor activities in public spaces in a city into three categories, each of which places very different demands on the physical environment: Necessary activities - Include those that are more or less compulsory, such as going to work, shopping, waiting for a bus or a person, running errands. Among other activities, this group includes the great majority of those related to walking. Optional activities - This category includes such activities as taking a walk to get a breath of fresh air, standing around enjoying life, or sitting and sunbathing. Social activities - All activities that depend on presence of others in public spaces. Social activities include children at play, greetings and conversations, communal activities of various kinds, and finally â&#x20AC;&#x201C; as the most widespread social activity â&#x20AC;&#x201C; passive contacts, that is, simply seeing and hearing other people. Who is the pedestrian ? What is the aim of the visitor of the space ? A square is generally utilized as a buffer zone to dynamically circulate through from point A to point B. However, such a space encompasses potential for contemplation, artistic appreciation as well as relaxation. The pedestrians serve an integral part for the survival of any square, in addition; the urban network that connects such squares and plazas to the existing alleys and streets of the city is what can truly exaggerate the success of the Square. Hence, the easy access for the pedestrian to such urban squares is pivotal for the success of achieving the desires of this project. Once the pedestrian has accessed the square, he/she are free in will and desire. Yet, art and artists have the power and potential of grasping their attention, even for mere seconds. At this moment it is through the art of temptation by the artist that he can lure the pedestrian into his/her hypnotic expression of art. However, those who appear prominent amongst the rest are those who can submerge the pedestrian into the art and allow them to become one with it. Pedestrians are members in societies (not just a population) because they interact not only with elements in space but also with other people as well, whether they intend to or not. Pedestrian social behaviors can range from perceiving or being aware of each other to having a conversation or any form of communication. Cristiano Castelfranchi notes the importance of the individual social action that in a society, not only the individual action should have a social perspective, but also the individual action should be influenced by the society. As we are not certain of what the pedestrian is capable of. We provide them the space, facility, and encouragement, and potentially, they might react. The pedestrian might be capable of certain variations of expression, ones that the space needs to appreciate. These could range from:

Biking & Cycling

Napping & Resting

Reading & Writing

Calisthenics & Bars

Walking & Jogging

Parkour & Free Running

Skateboarding & BMXing

Observation & Sightseeing

Ů&#x2039;

2.2 The Pitch & Muse Multiple sources have often described how designing a space for the busker is rather difficult, given the fact that the street within itself is that space; the buskerâ&#x20AC;&#x2122;s performance generates the space by becoming the center of attention, somewhat providing a centralized space within a plaza, square, or street. The space for the artist is only one that makes his or her profession easier to implement, potentially providing the needs of an artist, however it is quite impossible to define where inspiration could be found, given that inspiration is subjective to each individual. However, years of architecture has proven that certain projects could be much more beneficial to an artist rather than others. This chapter attempts to focus on the spaces born from good design, collecting data and ideas from multiple sources to produce the catalyst that is sought out for on this journey.

2.21 Dubai Design District Phase 2 Similar to my intent of injecting art within the urban fabric of Dubai. Dubai Design District’s Phase 2 plans for the creatives of Dubai is one to be appreciated. Designed by Foster + Partners, the aim of the new neighborhood is to nurture the city’s emerging local talent, as well as to provide a hub for established studios and galleries. Foster + Partners plans to create a mix of flexible contemporary offices and communal working facilities around a series of pedestrianized streets and outdoor events spaces – mimicking typical street patterns in the urban squares and streets of Europe.

2.22 Qingdao Culture & Art Center The linear form of the Jiaozhou Bay Bridge—the world’s longest bridge over water—is carried into the large site, in the form of a Light Loop, which contains gallery spaces and connects all aspects of the landscape and public spaces. The raised Light Loop allows maximum porosity and movement across the site, and permits natural sound bound breezes that blow in off the ocean to flow across the site. The project tackles notions such as contextual relevance, and pedestrian flow through dynamic spaces and circulation. This mindset is necessary due to the fact that the intent of this project would also encompass such values in order to achieve interaction between the artists, buskers, and pedestrians.

2.23 Beton Hala Waterfornt Center Contrasting the medieval fabric of the capital city, Sou Fujimoto’s “floating cloud” intertwines an array of social and transportation programs into an organized tangle of suspended ramps that emerge from the static platform of the Beton Hala. Vibrant pedestrian square will serve as the principle access point from the capital’s riverfront to it’s historic core. It will house retail space, cafes and restaurants, exterior exhibition space and a viewing platform, as it is perched atop a subterranean parking garage and transportation hub linking the ferry terminal, tram and bus. A connection to public transport and related spaces of retail, food, and beverages would benefit the essence of the intent.

2.3 The Plaza

One of the most important elements of city design is the square or plaza. It is possibly the most important way of designing a good setting for public and commercial buildings in cities. A square or plaza is both an area framed by buildings and an area designed to exhibit its buildings to the greatest advantage. There are two main methods of categorizing squares – by function and by form. There are numerous examples of recent plaza design where one or other of these two equally important criteria of excellence have been neglected. The empty windswept place surrounded by under-utilized buildings is all too common in the modern city, while it’s opposite or counterpart, the busy traffic island or faceless car park around which are scattered collections of non-related buildings, is also endemic in the urban scene. Activity in a square is important for its vitality and, therefore, also for its visual attraction. Vitruvius when writing about the design of the forum said it ‘should be proportionate to the number of inhabitants, so that it may not be too small a space to be useful, nor look like a desert waste for lack of population’. The great wealth of wonderful squares in Italy may be explained in part by a combination of climatic conditions conducive to outdoor living and the temperamental attitudes characteristic of Italian culture. These conditions and the outgoing nature of the Mediterranean peoples led to a public life which in turn gave form to street and square. The evening parades in cities like Florence, together with the many other outdoor community activities, demand the concentration of design effort in the development of the public domain. In more hot climates such as our own, Dubai, the covered malls, short promenades, and enclosed creative communities, attempt to provide the street life that squares and streets alike in European countries inhabit and express. Nevertheless, the square and the street still have an important function in the context of urban design, a concept not applied in the UAE. The types of space needed in a city are: the setting for a civic building; the principal meeting places; places for great ceremonial occasions; spaces for entertainment around buildings such as theatres, cinemas, restaurants and cafes; spaces for shopping, shopping street, arcades and markets; spaces around which offices are grouped; spaces of a semi-public nature around which residential accommodation is arranged; and, finally, the spaces associated with urban traffic junctions. A place has a dual function. It becomes a center because it is a goal, a place of pilgrimage, or more mundanely, somewhere to get the weekly shopping. Just as significant is that function of a place as a point of departure; the home is left daily for work while, at the grand scale, Mecca, when a pilgrimage is complete, is left behind for home and the daily routine of life. That being said, it is vital for the site of the project to be situated within an already constructed pedestrian space. The space requires one of addition and not civil importance. The public square is probably still the most important element in city design; it is the chief method by which a town or city is both decorated and given distinction. It is the natural setting for the most important civic and religious buildings, a place for fine sculpture, fountains and lighting and, above all else, a place where people meet and socialize. When such public places are designed according to some fairly basic principles and are imbued with a sense of place, they take on an added symbolic meaning. The most important physical quality of such spaces is enclosure. The methods of enclosure are many though the principles are few.

Sarah Usherman

Noor Bahjat

Sevan Manjikian

2.4 The People

We, as architects, design spaces for people. Spaces to inhabit, to experience, and to enjoy. We, as architects, have a social responsibility to design spaces that our visitors communicate with through their senses and memories. Architects help to build the evolution of society, by physically manifesting items of culture in the form of spatial constructs, where representations of culture meet the human mind in a multi-sensory locality. An architect has a physical sensory responsibility to the people who experience the constructed space while also acting as an artist and painting the picture that we call society. That being said, I decided to interview 6 random strangers, and allow them to become their own architects, allowing them to envision the street culture they believe should be found within streets and the urban environment. I documented this process by allowing the interviewees to sketch out their visions, and discuss with me, their thoughts and ideas on the subject of the study, the study itself, and the potential it has on impacting the urban fabric of Dubai.

Sevan Manjikian Age : 25

Nationality : Armenian

Profession : Product/Interior Designer “Dubai is definitely getting much better at generating festive spaces such as AlSerkal Avenue. However its a shame these expieriences are only events, and not something you can just visit at any time of day, or any day of the month throughout the year. I think Dubai is going places, it just needs that push.”

Noor Bahjat Age : 27

Nationality : Syrian

Profession : Artist/Painter “When I used to live in Syria, if we wanted to see art. We knew where to go. We had plenty of districts where creativity flowed and inspired. Here I feel, it’s hard to define where that space I’m looking for is. Yeah, there are a few places, but nothing real. I’m not looking for galleries or exhibitions, I’m looking for the spaces that make galleries useful.”

Sarah Usherman Age : 28

Nationality : British

Profession : Event Planner “I was just telling a friend of mine not too long back, that Dubai is really missing that street culture found in so many other cities. When I was back in the UK, the street was the space we spent most of our time in. I plan events now, and a theme that is in high demand is exactly the one you discussed to me, street culture is such an essential part of our daily lives.”

It was quite intriguing to notice how the same tools, a strong black marker, and tracing paper, provided to each individual in this survey resulted in such completely different perception of urban space. The various conceptions of urban space were as follows : - To some, the street resembled a space of pure contemplation. - To others, a space of euphoria and serenity. - And to the rest, the street was the epitome of creative expression and inspiration. Each individual began his sketch with 2 lines in generally, a perspective format insinuating depth of field and vision. This observation resulted in a confirmation that urban street spaces are generally perceived to the public eye as dynamic spaces that utilize architecture as an embracing factor and not core element.

Mostafa Zaghloul Age : 19

Nationality : Egyptian

Profession : Musician “Well, I mean, I love what you’re doing. It’s definitely something needed here. So many friends and I have been searching for a place we can just set up and jam in the middle of like this huge group of people on the street; But, we can’t sadly. Playing on the streets, or generally street performing is illegal here, and you can get in a lot of trouble for it. If you can somehow work your way around that, please let me know.”

Ramzi Moujaes Age : 24

Nationality : Lebanese

Profession : Sound Engineer “I come from Lebanon, a city where the music scene is quite highly appreciated. Local artists are celebrated and encouraged to perform in bars, cafe’s, and public spaces alike. After moving here, I’ve realized how much I took such pleasures for granted. This is a great city, but unfortunately it lacks that local artist vibe found in so many other great cities. They need to stop with food and beverages and retail districts, and invest more in the people that make spaces come alive.”

Carlo Muniz Age : 27

Nationality : Filipino

Profession : Graphic Designer “I was just telling a friend of mine not too long back, Dubai is really missing that street culture found in so many other cities. When I was back in the UK, the street was the space we spent most of our time in. I plan events now, and a theme that is in high demand is exactly the one you discussed to me, street culture is such an essential part of our daily lives.”

Carlo Muniz

Ramzi Moujaes

Mostafa Zaghloul

Art ic ulating

Architecture

3.1 Cultural Complex Luz, Sao Paulo

Herzog & de Meuron Sao Paulo, Brazil Proposal Date - 2009 Due Date - 2016

Cultural Complex Luz will be an important addition to Latin America’s largest cultural district, which currently includes the São Paulo Concert Hall, the Free University of Music, the São Paulo State Pinacoteca, the Júlio Prestes train station, Luz Park, the Museum of Portuguese Language, and the Museum of Sacred Art. Together they will form an urban necklace of alternating green spaces and buildings which will establish a new cultural destination closely connected to the Campos Elíseos region, a central area in São Paulo. The project is also part of a larger operation to regenerate Luz - one of the most dilapidated areas in the city. By combining education, culture, arts and events, the Cultural Complex Luz aims to bring enhancements to the surrounding neighborhood. The Cultural Complex Luz aims to bring together dance and music, students and professionals, performers and audience, production and rehearsal in one place. As the home for the São Paulo Dance Company and the 2000-student Tom Jobim Music School, the complex will include a 1750-seat Dance Theatre, a 500-seat Recital Hall, and a flexible Experimental Theatre with up to 400 seats to be used primarily for dance but will also host opera, theatre, and music performances. The concept envisions an open and lively cultural destination, a truly public center filled with diverse activities where a high degree of visibility and accessibility will encourage interaction between different generations and professions, and between guests and hosts.

The center of Sao Paulo was once the noblest area of the city, but had bee deteriorated and now has been showing great potential for transformation. The facilities, the quantity of services and trade can be an engine for the region to upgrade and reengage the uses that were abandoned in the mid-twentieth century. The reasons which led to deterioration over the years are related to the urbanization process of the city and its subsequent metropolis. The project occupies the entire lot. The complex is revolved around a rectangular square which is lowered by 5 meters below the street level surrounding it, creating a safe and protected place for public use. The square occupies 7000 mq. The square is surrounded in 3 sizes by built units of different use in the underground level as well as on the surface level. On the north side the square is open towards the Julio Prestes train station with a big sized stare case. From the stare cases the public can have a good look of what is going on inside rehearsal rooms. In addition to the stare case I have located a wide ramp that continue the direction of Duque De Caixas Avenue connecting it to the Luz Station and other important public facilities in that same direction maintaining the continuity. The objective of the project is to intensify the use of the facilities and of the public aera of the neighborhood Campos Eliseos. By creating a dance center in the area with public space that can be use by the people of Sao Paulo. The new building will be made transparent giving a view of what is going inside creating a dialog between the school and the street.

Ů&#x2039; To enhance the planned uses and programme mix, and create greater variation of spaces, the building consists of interwoven horizontal bands which cross at split levels. These wide, linear bands act like city streets to allow for dynamic and diverse exchanges between the performance spaces, lobby, schools, rehearsal rooms, offices, and workshops. Their specific composition maximizes proximity and visibility between the different parts of the building while allowing the necessary divisions and security boundaries. The weave of bands forms a mesh of built and open spaces, which, like a loose net laid on a forest, allows trees to penetrate and for every space to have direct contact with light and greenery. The main entrance is provided by the Grand Ramp, which is simply one of the slabs projecting out and sloping down into the grounds of Julio Prestes Plaza. This strong inviting gesture creates an elevated plaza that acts as a new outdoor performance venue between Sala SĂŁo Paulo and the Cultural Complex, and establishes a natural and prominent public entrance for pedestrians approaching from the metro and the train stations. The ramp also will be the main access path for those arriving by car via the drop-off area or the 850-car underground parking.

Ů&#x2039; The Grand Ramp enters directly in the heart of the Complex, and is the main orientation and distribution device in the building. A generous crossing provides a sweeping panorama of all programme elements. From this central place, one can get information about activities in the building, pick up tickets, descend to the garden and cafĂŠ on the ground floor, ascend to the Dance Company foyer or the Music School main entrance, go to the restaurant and bar which overlook the Julio Prestes Plaza and Sala SĂŁo Paulo, or proceed to the lobbies of all three main performance venues. This is the largest gathering space in the complex and is intended to bring together the visiting public, daily users, and staff of the complex as well as the audience for the performances. During a performance evening, the foyer and the lobbies turn into festive spaces through light, ready to host a formal crowd and prepare the audience emotionally for the performances. The main performance venues - the Dance Theatre, the Experimental Theatre and the Recital Hall - are nested within the network of interwoven slabs and anchor the building at three key locations, allowing the performances and their audience to activate the entire complex. The Dance Theatre is approached through a lobby that is on the same floor and leads directly into the main seating level of the theatre. Inside the theatre, the straight building slabs turn into sweeping geometric curves to focus on the proscenium opening of the stage. Most seats face the stage frontally, allowing for the best view of the dancers and their performance. To complement the larger Dance Theatre, the Experimental Theatre provides more flexible seating and stage layout. It will accommodate a diverse range of performance outside the framework of the classical proscenium hall. Its flexible layout and removable seating allow this hall to be used in a variety of future scenarios as a multipurpose event and catering space, in a prime location between the main lobby and the future garden to the South-West of the Complex. The Recital Hall, a smooth organic shape placed in the garden adjacent to the Music School, creates an exceptional moment in the Complex. Its lobby and entrance are in the garden. Inside, balconies follow the oval footprint and define the strong vertical space. This hall provides an intimate venue for chamber music, but its expandable stage will also allow it to accommodate rehearsals and performances of choirs and full symphonic orchestra.

Theatres Back of House Public Areas Dance Company Production Music School Dance School Parking

The Tom Jobim Music School has the largest population in the complex. More than 2000 students from 6 to 35 years of age and their teachers can gather in the Student Plaza, which acts like a covered school yard elevated above the gardens. From the plaza, the school extends the classrooms, practice spaces, rehearsal halls, or to the Recital Hall. A large diversity of terraces, passages, and school stairs offer infinite possibilities for gettogethers and spontaneous exchange. The landscape of water and green plants plays a special role in the Complex. The parks on both sides of the building flow through the Complex. Lush tropical planting forms a dense green carpet, grows around the slabs, rises along the lobbies and rehearsal spaces, embraces the entire building and pushes through the roof line. The green landscape creates a specific micro-climate and complements the numerous open public spaces that offer places for formal crowds, everyday gatherings, work meetings, spontaneous sessions, recreation, and improvised performances. The Dance Company is the backbone of the Complex. It occupies the largest slab, running the full length of the building. Its spacious rehearsal spaces are a main feature of the building, defining its grand scale and allowing natural light into the core of the Complex. The dance rehearsal spaces are conceived as a network of activity centers within the complex, the largest rehearsal space being placed above the Grand Ramp. The Dance Company is equipped with all necessary workshop and support areas and has direct and convenient access to the theatre stage, delivery, and support areas.

Theatres Back of House Public Areas Dance Company Production Music School Dance School Parking

3.2 11th Street Bridge Park, Washington D.C.

OMA Washington D.C., United States of American Proposal Date - 2014 Due Date - 2018

The design for the 11th Street Bridge Park-the Anacostia Crossingis a place of exchange. The park at Anacostia Crossing will connect two historically disparate sides of the river with a series of outdoor programmed spaces and active zones that will provide an engaging place hovering above, yet anchored in, the Anacostia River. To create this place-more destination than elevated thoroughfare-we have designed the bridge park as a clear moment of intersection where two sides of the river converge and coexist. Anacostia Crossing will offer layered programs, presenting a new neighborhood park, an after-hours destination for the nearby workforce, a retreat for residents and a territory for tourists to explore. Paths from each side of the river operate as springboardssloped ramps that elevate visitors to maximized look out points to landmarks in either direction. Extending over the river, the Anacostia paths join to form a loop, embracing the path from the Navy Yard side and linking the opposing banks in a single gesture. The resulting form of the bridge creates an iconic encounter, an "X" instantly recognizable as a new image for the river.

Ù&#x2039;

Ů&#x2039;

The paths also form elevated platforms on a 5% slope with views to the Anacostia River, the activities on the bridge, and prominent landmarks within Washington DC and Anacostia. These platforms simultaneously provide shade and shelter for the cafĂŠ on the southeast side and the performance space and hammock grove on the northwest side. At each side, a waterfall marks their terminus and reconnects them to the river below. On the east side, this waterfall is linked to an active filtration system that-together with new wetland areas adjacent to the bridge piersworks to actively clean the river around the Anacostia Crossing. The activated zones and multiple levels of the Anacostia Crossing also bring visitors down to the river itself. A series of voids along the bridge provide spaces for play and access down to the river itself. The performance space and cafĂŠ are each partially carved into the body of the bridge, creating intimate zones with views to the waters below. Together, these areas allow visitors to engage the river from multiple vantage points, from above to take in its majesty, or engaging with the waters for boating and recreation.

The Environmental Education Center will provide a variety of programs which tell the rivers 400 year history of the River. The Anacostia watershed lost much of its original hardwood forest cover, grassland meadows and tidal wetlands due to the treatment of this landscape by those that lived here as a commodity and not a valued resource. Anacostia Crossing will be a beacon that illuminates the challenged health of the River as well as highlights the possible solutions demonstrated by numerous ongoing efforts to clean the river, build community and educate our next generation of river stewards and engaged citizens. Our design will serve as a catalyst to improve the ecological integrity of the Anacostia River through demonstration and education on ecosystem enhancement as well as restoration shoreline plantings making it once again one of our Nation's greatest waterways. Anacostia Crossing works to promote the health of the citizens of Washington DC particularly those who live in Wards 6, 7 and 8 reflecting the communities' aspirations for a new quality of life. The design builds upon and connects to the existing Anacostia Riverwalk Trails on both sides of the river and creates a new topography for the public to engage and explore. Programmatic elements are also extended in a Phase 2 to provide stepping stones to the heart of Historic Anacostia encouraging residents to explore this new place in the city.

Ů&#x2039;

While the bridge is a unique and iconic structure, its character and essence are rooted in making this river landscape accessible to the community. Through programmed activities the bridge will showcase the region's unique cultural and natural history. To encourage visitors to spend time on the bridge and neighboring communities throughout the year, amenities for comfort and refreshment (restrooms and food), mitigation of climate extremes (shade and warmth), and opportunities for seasonal programming are provided along the entire length of the bridge. The bridge provides a gateway to events with strong roots in the adjacent communities. The intersection point of the two paths shapes the central meeting point of the bridge-an open plaza that provides a flexible venue for markets, festivals, and theatrical performances held throughout the year. The paths that frame this plaza further enhance the bridge as a hub of activity, providing a sequence of zones designated for play, relaxation, learning and gathering.

Ù&#x2039;

3.3 New National Gallery & Ludwig Museum, Budapest

SANAA Budapest, Hungary Proposal Date - 2015 Due Date - 2018

Our proposal for the New National Gallery and Ludwig Museum is an open extension of the City Park. The relationship between building, park and urban environment is constantly shifting as people move through a network of galleries, terraces and activity spaces. City Park itself changes dramatically from one season to another, with its ice rinks transforming into boat lakes. Our design looks to accentuate this effect: it is not a building within a park but a place where they are one and the same. It is a museum that fluctuates with seasonal shifts.

The open ground floor and gently sloped terraces that characterize the building allow the museums to be accessible from all sides, activating the spaces around the entire museum. Ours is a contemporary form of public space â&#x20AC;&#x201C; one where city, gardens and exhibition rooms become part of an experiential whole.The Chronological sequence of the Permanent Collection connects the two museums and extends through the height of the building. There are two main circulation routes through these exhibition spaces: the first is through the galleries themselves providing temporal continuity across the centuries; the second is composed of a sequence of social spaces and external terraces. This latter path allows visitors to rest, enjoy activities and views or learn more about the artworks on display. Like in a park, people are invited to determine their own routes and experiences.

The architectural form extends horizontally, floating low above the ground. Approachable from all sides our proposal is a transparent building that highlights and reflects the beautiful surrounding trees. Formed from a network of terraces, the edge itself is blurred and appears to dissolve into the landscape. The full height of the building is similar to that of the large surrounding trees and the museum sits among them like an inhabited canopy and extension of this tree-scape. While the exhibition volumes are distributed in a grid, the slopes and roofs are distributed playfully, creating spaces between slabs and volumes that let natural light penetrate the center of the building. The proposal is defined less by architectural facades than by activities that unfold within. Like the park itself it is not constant â&#x20AC;&#x201C; it changes across the course of each day and every season.

P___ itioning

Private

Semi-Public

Public

Cafeâ&#x20AC;&#x2122;

Toilets

Kitchen

Parking

Services

Cafeteria

Backstage

Amphitheater

Loading Dock

Dance Studios

Lecture Rooms

Meeting Rooms

General Storage

Rehearsal Studios

Recording Studios

Mastering Studios

Admin Department

Finance Department

Security Department

Large Public Auditorium

Small Private Auditorium

250m2

500m2

750m2

1000m2

1250m2

1500m2

1750m2

2000m2

2250m2

2500m2

4.1 Program

Total Area â&#x2030;&#x2C6; 18000 m2

Cultural Complex Luz, Sao Paulo

4.2 Private Vs Public

PUBLIC

100

PRIVATE

Private

Semi-Public

Public

Cafe’

Toilets

Kitchen

Plaza

Services

Cafeteria

Gift Shop

Play Area

Bike Lane

Backstage

Jogging Track

Amphitheater

Picnic Garden

Hamoc Grove

Botanical Gardens

Nap/Resting Areas

Interactive Art Space

Temporary Exhibition

Kayak & Paddle Dock

Pedestrian Walking Lane

Marine Life Viewing Dock

50m2

100m2

150m2

200m2

250m2

300m2

350m2

400m2

450m2

500m2 +

Program

Total Area ≈ 8000 m2

11th Street Bridge Park, Washington D.C.

Private Vs Public

PUBLIC

100

PRIVATE

Private

Semi-Public

Public

Cafe’

Toilets

Kitchen

Parking

Services

Cafeteria

Backstage

Event Halls

Amphitheater

Loading Dock

Museum Shop

Lecture Rooms

Entrance Lobby

Meeting Rooms

General Storage

Admin Department

Exhibition of Statues

Finance Department

Security Department

Permanent Exhibition

Temporary Exhibition

250m2

500m2

750m2

1000m2

1250m2

1500m2

1750m2

2000m2

2250m2

2500m2 +

Program

Total Area ≈ 14000 m2

New National Gallery & Ludwig Museum, Budapest

Private Vs Public

PUBLIC

100

PRIVATE

Private

Semi-Public

Public

Art as a Catalyst

Plaza

Toilets

Parking

Services

Kitchens

Backstage

Event Halls

Amphitheater

Loading Dock

Meeting Rooms

General Storage

Exhibition Spaces

Food & Beverages

Admin Department

Recreational Spaces

Interactive Art Space

Finance Department

Security Department

Dock Related Activities

Large Public Auditoriums

Walking/Biking/Jogging Lane

250m2

500m2

750m2

1000m2

1250m2

1500m2

1750m2

2000m2

2250m2

2500m2

Program

Total Area â&#x2030;&#x2C6; 9000 m2

Urban Ethnography

Private Vs Public

? 40

100

10 20

PUBLIC

PRIVATE

4.3 Bubble Diagram Loading Dock

Storage

Auditoriums

Plaza

Backstage

Amphitheaters

Toilets

Services

Private Semi-Public Public

Food & Beverages

Kitchens

Dock Related Activities

Toilets

Event Halls

Security

Toilets Parking

Admin

Finance

Meeting Rooms

Recreational Spaces Interactive Art Spaces

Toilets

Exhibition Spaces

4.4 Occupancy

Dock Related Activities

x x x x

75 20

Admin Department Food & Beverages Exhibition Spaces

Pedestrian Lanes

General Storage

x x

Amphitheater Auditoriums Event Halls

Backstage

x x 250

Semi-Public Public

Kitchens

Services Parking

Private

Meeting Rooms Loading Dock

x 500 x 150 x 150

5 People

Finance Department

Recreational Spaces

x 150 x 250

1000

Security Department

Interactive Art Space

Toilets Plaza

4.5 Space Relationship Matrix

Dock Related Activities Security Department Finance Department Interactive Art Space Recreational Spaces Admin Department Food & Beverages Exhibition Spaces Pedestrian Lanes General Storage Meeting Rooms Loading Dock Amphitheater Auditoriums Event Halls Backstage Kitchens Services Parking Toilets Plaza

Maybe

Should

Must

Smart

Placement

Smart

5.1

Planning the City

Dubai is a city constantly on the move. From the moment it began its establishment as the hub of trade throughout the Gulf. The cityâ&#x20AC;&#x2122;s rulers were aware of an expansion, that proportionally expanded with the years. Established as the United Arab Emirates in 1971, Dubai from that point on began to grow towards the South West, developing itself along the shore. Hence, the city center was constantly in a state of re-location. Originally located along the coast of Deira, however now almost 40 years later, the city center has re-established itself embracing the Burj Khalifa and spreading from the Downtown Boulevard. As this spread proportionally increased over the years, so did the distance from one end of the city to the other. Furthermore, one can notice from the illustrations below that as the city moves into 2015, and the later years, the city has somewhat of an equal density of infrastructure to the South West of its geographical constraints, as it does to the North East. This leaves the urban structure of the city with a new centralized region; Insert the JBR/Marina district, a figurative link to the two extremes.

1975

1985

1995 100

2005

2015

2015 + 101

Al Serkal Avenue

DIFC

Tashkeel

Al Bastakiya

Dubai Design District Public art is a lot different from museum and exhibition art. Due to various reasons, like the wide variety of audience, the necessity to create harmony in the surrounding space and place, sociological influences, the need to apply maintenance measures andâ&#x20AC;Ś, we are facing a different type of art. (Abasgolizade, 2011) Having said that, the space required encourages a unique environment, extremely different from the rest of the art hubs within Dubai, that unfortunately are very few. The illustration above showcases spaces that function purely on the conception of manifest arts and visually communicated design alike. Such spaces, although potentially impacting the urban footprint of the city, lack communal interaction and fail to encompass the senses of each individual. Furthermore; the illustration portrays a higher density of art hubs in only a specific region of Dubai that lie in close proximity to one another; the recent development and growth towards the south west direction has not created a parallel growth for art hubs, somewhat disregarding new Dubai and the future Expo 2020 site.

5.2

Art Hubs of Dubai

Urban Spaces of Dubai

5.3

Public space can be defined as a space which allows people to access it, where certain activities are performed, and where that space is controlled by a public organization; it is a space which is provided and run for the benefit of all public. It seems that the definition of public space emphasizes the unlimited access to space or various activities, the most noticeable of which are the qualities that public space should have; for example, its ability to support, to be democratic and meaningful. (Moradi, 1386) The main public attractions within Dubai, lay generally in the same geographical region. Although in very close proximity to one another, and sadly consuming a large budget, they lack to capture the essence of an urban environment that floods with life and inspires the visitors of the space. Composed mostly of retail, food, and beverages, the spaces do not allow for busking or spontaneous creative expression, unless funded by the organizers of the space.

Box Park Kite Beach Promenade Downtown Boulevard JBR The Beach City Walk

103

5.4

Site Rationale â&#x20AC;&#x153;First life, then spaces, then buildings: the other way around never works.â&#x20AC;? - Jan Gehl Architects and Urban Designers alike are generally optimists. They are believers in change, social development, cultural diversification, and the potential of Architecture and Urban Planning to change the world. Architecture is all around us, continuously impacting our psychological, emotional, and neurological perception of matter more than any other element in our day to day experiences. The environment and essence of a space is that loop hole an architect taps into in order to alter the individualâ&#x20AC;&#x2122;s mindset. That being said, a project that attempts to impact the entire urban fabric and street culture of Dubai, is one that requires a great duration of time, huge urban proportions, and considerable degree of trial and error. However, a project that sends a message, ignites a spark of change, and impacts a smaller region of a growing metropolis; proves the necessity of such spatial experiences, and the value of street culture and pedestrian life, as well as the essentiality of art in the urban context. As a result, the below chosen sites needed to have that impact on the people within their respected regional constraints.

104

105

Business Bay 106

5.5

Site Proposals

Business Bay is a district situated in very close proximity to the current heart of Dubai and city center. Almost 5 kilometers from the downtown boulevard, the site would attract a social class heavily found in the city of Dubai; The working class. With a population of almost 300,000 people within Business Bay, and a confirmation of regional activity for 10 hours for 5 days per week. The site would thrive with life as it rejuvinates the pedestrians journey to the office and surely improve the work force. Not only will the Artistic enviornment improve the day to day life of the people within the sector, but also generate a potential transportation hub, as it utilizes the ongoing Dubai creek project.

107

108

Dubai Design District is a purpose-built design district that could nurture emerging local talent and provide a home for the regionâ&#x20AC;&#x2122;s creative thinkers. Dubai is a smart city, appealing to all industries and fields with purpose built environments, and themed focused regions. The intent was to place the project at the opposite end of the Dubai Design District and continue the flow from one end of the upcoming waterfront, to the other. This strategy will generate an ellipse like loop that will allow for more retail space. Furthermore, the design could have potentially evolved to become a transportation water taxi station, extending a dock and allowing for pedestrians to circulate through the city by utilizing the Dubai Creek.

109

SDD

110

Skydive Dubai, the worldâ&#x20AC;&#x2122;s premier skydiving location, neighboring the luxurious man made island The Palm Jumeirah and the Dubai Marina, is the new hub of extreme sports in Dubai. Attracting over 75,000 visitors per year, the space would completely redefine the context it would lie within. Furthermore, it would create a connection between the beginning of JBR and the highest residential block in the world, the towers of the Dubai Marina.

111

Dubai Media City 112

Dubai Media City is a the hub and heart of new Dubai. Embraced by universities, residential, food and beverage, hotels and business towers, the space has all types of social classes and all age groups. In very close proximity to the Dubai Media City park and new amphitheater, the location is one of prime significance to the area given its pedestrian flow. The site itself is centralized signifying a plaza waiting to happen.

113

114

The selected site is located on the South West side of JBR, towards the end of the shore. Capturing the pedestrian flow that runs in the same direction, and establishing a vital connection between the beach, and Blue Waters island developed by Meraas. Utilizing 3 different access points, first from the beach, second from the Dubai Marina waterfront, and last from the central road and pedestrian friendly walk way that dissects the JBR and Marina.

Selected Site JBR Not only will the project inject art into the urban structure of the JBR, but also have an entire urban impact on the blue waters projects. As the pedestrians, artists, and buskers enter from the JBR point of entry, they will leave changed and affected as they exit towards the currently developed island. The bridge will literally become the catalyst of change, completely rejuvenating the social status of the upcoming man made multi functional Blue Waters island.

115

5.7

Historical Timeline 2013

2012 -

2015

2014

116

2016 +

2012

117

Site

Site Analysis

5.8

118

119

Zoning Offices Hotels Commercial Residentials

120

121

Roads & Access 1 Sheikh Zayed Road 2 JBR The Beach 3 Dubai Marina 2

3 1

122

123

Pedestrian Population & Access Very Rich Average Private Sect.

124

Access

125

Public Transport Tram Stations

Metro Stations

Bus Stops

126

127

Sun Path Summer Solstice Spring/Fall Equinox Winter Solstice

128

129

N NW

Wind Analysis

Annual Windrose

130

131

Prevailing Winds

Wind Direction

Dominant winds 132

133

Flora The site is landscaped by Cracknell , one of the leading landscape architecture, planning and urban design practices in the world. Landscaping is generally composed of real trees however artificially placed and lack relevant context. The Sheraton JBR, the closest heavily green project in close proximity to the site comprises of palm trees and artificial green fields.

Geology Serpentinised peridotite is the most common rock type found within the JBR shore. The dark peridotite, originally formed in the upper mantle, has been extensively altered to a pale green fibrous mineral called serpentine.

134

Materials The material on site is generally a light brown concrete to complement the architectural style of the Arab inspired architecture. However, certain nearby structures sway away from that language and utilize a modern cladding of aluminum and steel. Furthermore, reflective glass is placed on the facades due to the strong sun path and solar radiation.

Architectural Language The architectural language generally found on site is a modern interpretation of Arab & Mediterranean architecture. The site is embraced by the JBR a housing project, which is located on the Jumeirah Beach, said to be the largest single phase residential development in the world. It consists of 40 towers, of which 36 are residential and 4 are hotels. The project has planned for 6,917 apartments ranging from studios of 900 sft to penthouses of 5,500 sft spread over an area of 22 million sft. A huge area of 770,000 sft has been developed into a shopping and entertainment hub with about 400 outlets.

Soil Typology The sand found on the shore of JBR is generally of a yellowish brown color, and holds a moderately shallow, well drained, fine sand Typology.

Fauna The typical marine life off the Dubai coast includes tropical fish, jellyfish, coral, dugong (aka sea cow), dolphins, whales and sharks, but these sharks do not present a problem for bathers. Various types of turtles can also be found in the area including the Hawksbill Turtle and Green Turtle which are listed as endangered species.

135

136

Height Analysis The selected site is in close proximity to the highest residential block in the world, and is embraced by the Jumierah Beach Residence; a group of 40 towers that vary in height ranging from 125 meters to 220 meters. These structures generate a proportionally large overcasting shadow, potentially affecting the site itself.

275m 250m 225m 200m 175m 150m 125m 100m 75m 50m 25m 0m

137

Landmark Analysis With the rise of the new Blue Waters Island, so comes the rise of the new largest Ferris wheel in the world, The Dubai Eye. Estimated to attract almost 130,000 visitors per year, the Dubai Eye will be the new tourist attraction of the city. That being said, a heavy flow of pedestrians will circulate from the Beach through the project in order to view the constantly rising skyline of the city.

138

Social & Environmental Impact Given that the project is composed of a bridge that leads the visitor of the space from one point to another. The project will focus on generating a dynamic space that changes the individual once the experience is complete. With that being the case, one who enters through the figurative portal of creativity will impact the next space he or she instills themselves into. The promenade and water front currently in development by Meraas will face major effects given that the music and social environment will potentially carry on with those enjoying the amenities of the Blue Waters island. This conception will grow to have an affect on the entire island, its residents, and visitors, potentially generating a busking, artistic, pedestrian friendly island. Making the project soon to be, a literal catalyst of change.

139

REST

6.1 Concrete Canvases

Street Slabs

142

Project Proposal #1 Section

Inspiration towards creativity is not defined by the space that confines it. Creativity requires nothing more than the intention to create. This also applies to the Buskers & the Artist, they require nothing more that the Pedestrian to observe and enjoy as they change the environment he or she currently resides within. It is not possible to design a space for the two creative classes focused on in this project, due to the fact that they are what generate the essence of the space. Hence, all that is needed, is the platform to perform & express. Concrete Canvases for the Artists, Street Slabs for the Buskers, and the environment they produce for the Pedestrian.

Site Plan

143

Physical Model

Artists Buskers

Pedestrians

144

Project Proposal #2

Site Plan

Derived from the concept of the holy trinity. Being that three is a sacred number. The structure focuses on the three social groups : • The Artists • The Buskers • The Pedestrians Each with their own devoted dynamic space leading to a unifed static square. The project focuses on the fastest route from point A to B with a form of social interaction as the visitor circulates throughout the project.

145

Project Proposal #3 A bridge is a form with 2 access points. One point of entry, and one point of exit. However, with a visitor circulating in the opposite direction, that concept is inverted. Given that the structure will require the passage of one visitor on two occasions. The experience of each voyage, from point A to point B must vary proportionally to the original experience. This concept builds on that set of codes, establishing itself based on a completely different form than the original.

146

147

6.2

Summary & Synthesis

148

This is just the beginning. The proposals before you are only preliminary attempts at a project that has proportional potential. A project that serves to change the day to day life of a visitor of the urban space. The Artists, Buskers, and Pedestrians are the social groups that require intensive attention in order to produce results that can substantially improve the urban environment of Dubai. By using art as a figurative injection that will initiate the change, Dubaiâ&#x20AC;&#x2122;s urban fabric will flourish, and the people will experience the city and the potential it has for greatness.

149

Urban Ethnography

Art as a Catalyst

152

A Catalyst is defined as a substance that increases the rate of a chemical reaction without itself undergoing any permanent chemical change. Dubai is a developing city, it is inevitable that in the imminent future, this rising metropolis will be a new home to the urban dwellers and street scholars. Art as a Catalyst however, is the elixir that will eternally impact the urban fabric and truly make the change sought out for the residents of Dubai, achievable.

153

Bibliography Kanna, Ahmed. Dubai, the City as Corporation. Minneapolis: U of Minnesota, 2011. Print. Brook, Daniel. A History of Future Cities. N.p.: n.p., n.d. Print. Cohen, David, and Ben Greenwood. The Buskers: A History of Street Entertainment. N.p.: n.p., n.d. Print “Dubai Design District | Our Story.” Dubai Design District | Our Story. N.p., n.d. Web. 08 Dec. 2015. “Alserkal Avenue.” Alserkal Avenue. N.p., n.d. Web. 08 Dec. 2015. Gatje, Robert F. Great Public Squares: An Architect’s Selection. New York: W.W. Norton, 2010. Print. Abasgolizade, Hakime. “Study of the Effect of Public Art with Emphasis on Environmental Sculpture in Increasing Urban Space Quality.” (2011): n. pag. Web “About Art Dubai.” Art Dubai, n.d. Web. 10 Dec. 2015. Moughtin, Cliff. Urban Design: Street and Square. Oxford: Butterworth Architecture, 1992. Print. Salman, Moradi; The Public Art and Its Integration With Urban Place, Bagheh Nazar Magazine, issue 8 Rosenfield, Karissa. “Steven Holl Wins Competition for Qingdao Culture and Art Center.” Archdaily, 30 Oct. 2013. Web. Rosenfield, Karissa. “Beton Hala Waterfront Center / Sou Fujimoto Architects” Archdaily, 25 Oct. 2013. Web. Rosenfield, Karissa. “Dubai Design District Taps Foster + Partners To Design Its Second Phase ” Archdaily, 05 May. 2015. Web. “The History of Art.” Youtube. Likefilmsdotorg, 42 Mar. 2011. Web. Zoric, Zach. “From the Trenches - Drawing Paleolithic Romania” Archaeology Magazine Archive. N.p., Jan. 2012. Web. 13 Dec. 2015. “History Of Street Musicians.” Web log post. VrijVlinder. N.p., n.d. Web. 13 Dec. 2015. Otto, Beatrice K. “Fools Are Everywhere.” The University of Chicago Press. N.p., n.d. Web. Hudson, Danny. “Herzog & De Meuron: Cultural Complex Luz, Sao Paulo.” Designboom. N.p., 20 Feb. 2013. Web. Stott, Rory. “OMA + OLIN Selected to Design D.C.’s 11th Street Bridge Park.” ArchDaily. N.p., 15 Oct. 2014. Web. Rinaldi, Marco. “SANAA’S PROPOSAL FOR NEW NATIONAL GALLERY-LUDWIG MUSEUM IN BUDAPEST.” A as Architecture. N.p., 17 Apr. 2015. Web. Feulner, Gary. “GEOLOGICAL OVERVIEW.” Geological Overview (2008): 6. Uaeinteract. 2008. Web.

154

Gear, Richard. “Flora and Fauna of Dubai.” Richard’s Dubai Guide. N.p., 2011. Web. “About Us | Skydive Dubai.” Skydive Dubai. N.p., 2014. Web. Population and Vital Statistics. Rep. N.p.: n.p., n.d. Print. “Bluewaters.” Meraas Holding. N.p., n.d. Web. “Jumeirah Beach Residence Top Views.” Dubai360. N.p., n.d. Web. Dec. 2015.

End Notes [1] Joint Venture : A commercial enterprise undertaken jointly by two or more parties which otherwise retain their distinct identities. [2] Renaissance : The revival of European art and literature under the influence of classical models in the 14th–16th centuries. [3] Graffiti : Writing or drawings scribbled, scratched, or sprayed illicitly on a wall or other surface in a public place [4] Renaissance man : Individuals whom excelled at several fields in science and the arts in the age of the Renaissance such as Leonardo Da Vinci and the likes. In this context utilized to symbolize the potential found in each pedestrian. [5] Ahmed Kanna : Ahmed Kanna is Assistant Professor of Anthropology and International Studies at the University of the Pacific. [6] Patrick Schumacher : A company director and Senior Designer of Zaha Hadid Architects. He maintains an active role in the development through the design phases of all projects of the firm. [7] Ephemeral : lasting for a very short time. [8] Sikka : The means of circulation found in between and embraced by the homes of the Bastakiya. [9] Buskers : To play music or perform entertainment in a public place, usually while soliciting money or appreciating gratification. [10] Catalyst : A substance that increases the rate of a chemical reaction without itself undergoing any permanent chemical change. [11] Pitch : The place where a performance occurs is called a “pitch”. A good pitch can be the key to success as a busker. [12] Muse : A source of inspiration, most generally for an artist. [13] Ethnography : (from Greek ethnos “folk, people, nation”) is the systematic study of people and cultures. It is designed to explore cultural phenomena where the researcher observes society from the point of view of the subject of the study. [14] Anthropology : the study of humankind, in particular: the comparative study of human societies and cultures and their development.

155

List of Figures Figures on page 17 : Paleari, Francesco. ‘Behance’. Behance.net. N.p., 2015. Web. Figure on page 18 : Al-Nabulsi, Jamal. ‘Deep In Thought’. jamal n photography. N.p., 2015. Web. Figures on page 21 : (1914) - photographium.com,. ‘Photographium.Com’. N.p., 2015. 2015. (1971) - Arnold, Eve. ‘Eve Arnold’s Most Memorable Shots – In Pictures’. the Guardian. N.p., 2012. (2000) - Al-Nabulsi, Jamal. ‘Deep In Thought’. jamal n photography. N.p., 2015. (2015) - D’Orazio Photography | Design,. ‘Photography’. N.p., 2015. Web. Figure on page 23 : Leonelli, Elisa. ‘Photographs By Elisa Leonelli’. Photographs by Elisa Leonelli. N.p., 2015. Web. Top figure on page 26 : Welcome to the Davis Event Group Blog!,. ‘Outdoor Fun In Old Town And At National Harbor!’. N.p., 2012. Web. Lower figure on page 26 : Clark, Ash. ‘Cheap Things To Do In New York Archives -’. N.p., 2013. Web. Left side figure on page 29 : Amasso12,. “Cubism”. N.p., 2012. Web. Central figure on page 29 : Vicki A Alford - Photographer,. “CANDID SHOTS FROM MY ARCHIVES THAT REALLY GOT ME INTERESTED IN STREET PHOTOGRAPHY”. N.p., 2014. Web. Right side figure on page 29 : The Huffington Post,. “Christophe Debon: One Of The Best Street Photographers Of Our Time”. N.p., 2015. Web. Top figure on page 30 : Wallpapercave.com,. “Vincent Van Gogh Wallpapers - Wallpaper Cave”. N.p., 2015. Web. Lower figure on page 30 : Riogringa.com,. “Rio Gringa: New York”. N.p., 2012. Web. 13 Dec. 2015. Figure on page 41 : Colourfulsound.net,. “Weird Instruments | CLFLSND – Musician, Writer, Daydreamer”. N.p., 2014. Web. Top figure on page 44 : Pcwallart.com,. “Japan City - Wallpaper.”. N.p., 2015. Web. Lower figure on page 44 : Wp.axelweberundpartner.de,. “Axel Weber & Partner”. N.p., 2015. Web. Figure on page 48 : Rosenfield, Karissa. “Dubai Design District Taps Foster + Partners To Design Its Second Phase” Archdaily, 05 May. 2015. Web. Figure on page 50 : Rosenfield, Karissa. “Steven Holl Wins Competition for Qingdao Culture and Art Center.” Archdaily, 30 Oct. 2013. Web. Figure on page 51 : Rosenfield, Karissa. “Beton Hala Waterfront Center / Sou Fujimoto Architects” Archdaily, 25 Oct. 2013. Web. Figure on page 52 : Commons.wikimedia.org,. “File:Caspar Van Wittel - Piazza Navona, Rome Google Art Project.Jpg - Wikimedia Commons”. N.p., 1652. Web. Figures of Cast Study #1 : Hudson, Danny. “Herzog & De Meuron: Cultural Complex Luz, Sao Paulo.” Designboom. N.p., 20 Feb. 2013. Web.

156

Figures of Case Study #2 : Stott, Rory. “OMA + OLIN Selected to Design D.C.’s 11th Street Bridge Park.” ArchDaily. N.p., 15 Oct. 2014. Web. Figures of Case Study #3 : Rinaldi, Marco. “SANAA’S PROPOSAL FOR NEW NATIONAL GALLERYLUDWIG MUSEUM IN BUDAPEST.” A as Architecture. N.p., 17 Apr. 2015. Web. Figures & Diagrams in Chapter 4 belong to the author of this book. Figures on pages 100 - 103 : Dubaiforvisitors.com,. “Dubai Map”. N.p., 2008. Web. Figures of page 106 - 114 : Top Figures - Google Maps,. “Google Maps”. N.p., 2015. Web.

Lower Figures - Dubai360,. “Dubai360”. N.p., 2015. Web.

Figures on page 116 : Google Maps,. “Google Maps”. N.p., 2015. Web. Figure on page 117 : “Bluewaters.” Meraas Holding. N.p., n.d. Web. Figures on pages 118 - 133 belong to the author of this book. Figure on page 134 : Dubai360,. “Dubai360”. N.p., 2015. Web. Figure on page 138 : “Bluewaters.” Meraas Holding. N.p., n.d. Web. Figure on page 139 : “Bluewaters.” Meraas Holding. N.p., n.d. Web. Figures & Diagrams in Chapter 6 belong to the author of this book.

157