Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
(Under) Representations of Modern Architecture from the MENA region Examining the influence of the Aga Khan Development Network on Architecture and Plurality A pressing issue in architecture today is the understanding and manifestation of the role of architecture and buildings as powerful icons of identity amidst emerging friction between increasingly globalized economic and cultural relationships, which in turn are exacerbated by a heightened sense of local identity. A continual tension exists between regional specificity, or validation of international modernism in designs, somehow frequently albeit inadvertently serving stereotypes.1 Debates over representation versus stereotype frequent the modernism discourse. Reflections on how our built environments – or the lack thereof – acquire meaning, and thereafter lay the spatial infrastructure for future generations are imminent. And yet, as a student of architecture and architectural history, I find myself questioning the lack of representation of architectural works and people from the larger proportion of the globe, and a disproportionate focus and narrative on the “Global West,” particularly in the history of the last two centuries, when industrialization set the wheels of modern architecture in motion. Surely, architecture did not cease to be in those geographic regions that were slow to industrialize. And even after their industrialization, their representation in the modern discourse remains marginal. Afterall, modernization is not only the extension of industrialized building processes and urban infrastructure, but also the spread of ideals of progress and standards of comfort.2 For this paper, I briefly investigate the contributions of local Middle Eastern and North African (MENA) architectural influences to modern architecture. Geographically, the study covers architectural style and innovation from the Arabian Peninsula, Levant (countries on the Eastern Mediterranean side), and North Africa. Next, the role of Aga Khan Award for Architecture (AKAA), established by the Aga Khan Development Network (AKDN), in disseminating pluralistic narratives of architecture is discussed, underscoring trans-national architectural exchange. The paper is divided into three broad parts- Part 1 discusses 20th century history of the middle eastern region and corresponding architectural changes; Part 2 is a discussion of the Aga Khan Award for Architecture and its regional and global influence; and finally, Part 3 glances through two case studies of AKAA recipient projects, giving an insight into the diversity of evaluation criteria, and selection of the award projects, concluding with reflections by the author.
Part 01: 20th Century Architectural discourse from the Middle East and North Africa (MENA) region In the seminal book History of Architecture, Sir Bannister Fletcher illustrates architectural history as a tree- with great monuments from the non-Western traditions sketched at the base, on the lower branches; these branches are terminating and are unable to grow further (Fig 1). The strong central tree trunk is shown to reflect Greek and Roman architecture. The newest, youngest branches on top depict the thennew building type- the skyscraper. The book was published in 1896, a time of great changes for colonial and Western nations. Where would we place the architectural standing of the Middle Eastern region at 1 2
(Rizvi 2018). Ibid.
1
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
this time? Osman Hamdi Bey, a Paris-trained Turkish artist established the Fine Arts Academy in Istanbul in 1883, which was a first in the region to teach architecture alongside art. Architecture was hitherto restricted to the engineering departments. Similar developments were taking place in Iran and Egypt, although heavily influenced by European and colonial styles. 3
Figure 1 "The Tree of Architecture," frontispiece from Sir Bannister Fletcher, History of Architecture (London, B.T. Batsford; New York, C. Scribner's Sons, 1896).
3
(Rizvi 2018). 2
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
The discovery of oil in late 19th and early 20th centuries pushed the Middle East to the center of foreignpolicy strategies for many countries in Europe and North America, when the search for fuel to drive the rapid industrialization was ongoing. The Middle Eastern region was viewed through a common lens of “fuel source” with a wealth of oil stored beneath the land and ocean beds. February 1991 brought the end of the Gulf War which was fought for seven months by coalition forces led by the United States against Iraq, in response to Iraq’s attempts to annex parts of Kuwait. The end of war brought with it much stability to the Middle Eastern region, and spurred heightened economic growth and development, along with corresponding architecture, planning, and private sector investment growth. Oftentimes, the stable aspects of the region are ignored while the media paints a narrative of violence, terrorism, and conflict for the global narrative.4 Although affected to a certain degree by the World War II, the geo-political history of the region was different. By the 1920s, Iran and Turkey were independent nations, whereas countries in North Africa remained under colonial rule much into the 1950s. In the transactions between industrialized and industrializing nations, there were juxtapositions and conflicts in the ways buildings were designed and built. Modern architecture assumed a division of labor between various participating agents, including architects, manufacturers, engineers, etc. But in many ‘underdeveloped’ and newly developing countries, this framework of hierarchy was not yet established, resulting in the construction process of new forms being at odds with traditional methods of construction and craftsmanship, wherein new methods had to be involved for the handling and workability of local materials. This conflict of processes undermined the practical knowledge of regional styles, replacing delicate details in building with industrial, utilitarian elements devoid of local culture and taste.5 Two general design approaches existed during the early twentieth-century Middle Eastern architecture – (i) Selective adaptation of historical forms to new designs, and (ii) Experimenting with abstract designs trending in international practice. In many instances, both these ideologies were combined by architects. Sedam Hakki Eldem (1908-88), was a Turkish architect. His modern house designs gained recognition for their reflection of the idealized Turkish house, which he envisioned after coming across publications of Frank Lloyd Wright’s prairie houses in Illinois. 6 Eldem designed a series of houses in Istanbul, reflecting his functionalism ideology, and using modern materials (Fig.2&3 ). In collaboration with Skidmore Owings and Merrill, Eldem designed the “flying carpet” entry canopy for the Hilton Hotel at Istanbul in 1955, evoking orientalist fantasies. The spatial layout consisted of a grid of rooms, and “a sequence of pools, lawns, and lounges,”7 wherein traditional forms were attempted to be reintroduced by modernism itself through use of motifs and vernacular ornamentation- the design embodying the ‘burden of representation.’8
4
(Al-Asad 2012). Al-Asad, Mohammad. 2012. Contemporary Architecture and Urbanism in the Middle East. Gainesville: University Press of Florida.
5
(Curtis 1996). Curtis, William J. R. 1996. Modern Architecture Since 1900. London, Hong Kong: Phaidon Press Limited.
6 7
(Bozdogan, Sedad Hakki Eldem: Architecture in Turkey 1987) (Wharton 2001). Wharton, Annabel Jane. 2001. Building the Cold War: Hilton International Hotels and Modern Architecture. Chicago: University of Chicago Press.
8
(Rizvi 2018) 3
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Figure 2 Riza Dervis House by Sedad Hakki ELdem/ SALT Research & Rahmi M. Koç Archive
Figure 3 Interiors; Riza Dervis House by Sedad Hakki Eldem/ SALT Research & Rahmi M. Koç Archive
4
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Hassan Fathy (1900-1989) was an Egyptian architect who is possibly one of the most recognized modern architects from the MENA region. Fathy began developing mud-brick solutions to accommodate the housing needs of the Egyptian rural poor during the 1940s. While his works may not stand out, or be relevant to current architectural practice, modern architecture in the Middle East often borrows from vernacular pasts, much like Fathy’s works. In his case, the primary source of inspiration was the Egyptian countryside.9 He designed the New Gourna Village, through which he elevated the quality of housing for the rural poor section of society. He went on to influence future works of architecture in the region, such as the Al-Dalaliyyah Houses in Kuwait City, completed in 2003 by Wael al-Masri as the lead architect. The houses were inspired both from the Egyptian vernacular as well as Fathy’s works – including the domes, vaults, niches, and the massing proportions and materiality. Fathy’s critique of industrialization and its accompanying implications for the built environment were basic. He refused to accept the glorification of industrial progress, and claimed that in most Third World circumstances, the peasant can build better for himself than any architect, a sentiment that can still be seen in large sections of society in the developing world today. “Modernity does not necessarily mean liveliness, and change is not always for the better… Tradition is not necessarily old fashioned and is not synonymous with stagnation…Tradition is the social analogy of personal habit, and in art has the same effect of releasing the artist from distracting and inessential decisions so that he can give his whole attention to the vital ones.” -Hassan Fathy
The Middle East experienced a construction boom in the 1970s as a result of oil revenue. Architects from across the world gathered to take advantage of the capital disposal. Author Tom Wolfe claimed in his satirical From Bauhaus to Our House, that architects from the United States could only survive the recession (that hit the United States then) by taking up projects in the Middle East. This boom also had positive implications for neighboring regions.10 Expatriates from the Indian subcontinent and developing nations from East and South East Asia began working in the construction industry, sending back home money, which further developed their local economies. After the first oil boom subsided, the gulf war ensued, and construction activity receded until the first decade of the 21st century. The reigns of development and innovation in the construction industry have been heavily concentrated in a few countries of the MENA region since the past two decades- notably the United Arab Emirates, Qatar, Turkey, and perhaps more recently, Saudi Arabia. These countries have produced some exceptional architectural masterpieces and draw attention from international architects and ‘Star’ architects such as Kenzo Tange, Zaha Hadid, Norman Foster, etc. There have been great strides in addressing issues of architecture and urbanism in the Middle Eastern region during this time. The architecture industry has produced some avant-garde architects, such as Bernard Khoury (Fig 4 a,b) from Lebanon and Sahel Al Hiyari from Jordan. They have garnered international recognition, and their work focusses on modern and contemporary design solutions with no hint of history or regional nostalgia. Even so, the sources of their inspiration can often be found in local, traditional, and vernacular practices.11
9
(Al-Asad 2012) Ibid. 11 (The Middle East Institute n.d.) 10
5
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Figure 4(a) Bernard Khoury
Figure 4(b) Plot #4371 project by Bernard Khoury / Source: Financial Tiimes.
Part 2: Role of the Aga Khan Award for Architecture in the dissemination of plurality in architecture Architectural competitions and awards have been an infamous means of selecting architects, especially for the design and construction of major projects. They are often effective means to ‘quickly collate’ a variety of perspectives and ideas that would otherwise have been improbable to conceive by a single individual, firm, or ideology.12 For instance, the Centre Pompidou, essential to the architectural heritage of Paris, is a product of an architectural competition from 1971.13 The Aga Khan Award for Architecture (AKAA) was established in 1977 by Aga Khan IV. Since then, it has granted awards in triennial cycles to projects that set new standards of excellence in architecture, planning practices, historic preservation, and landscape architecture. The award prize is a generous one million USD in total, and is shared between the recipients.14 “pluralistic inquiry is the living link between the good society and public space, and architecture, I believe, is the arc of this ancient and intimate connection. And the Aga Khan Award does its best to propagate and protect not only architecture but the architecture of freedom and fairness. The Award aspires to sustain the quality of life of the built environment in a profound and productive relationship with the ecology of the natural life of the plane.” – Homi Bhaba, Architecture League of New York awards, 201715
12
(Bee Breeders, Architecture Competition Organizers n.d.) (Khan 2020) 14 (Aga Khan Development Network n.d.) 15 (Network/Youtube 2017) 13
6
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Despite growing shifts towards non-divisive, non-exclusive, more global discourse, we continue to have countries that are central to production of architecture and architectural discourse, and countries that lack access and opportunity to a similar voice.16 Meaningful discourse about contemporary architecture of Islam, and Islamic countries was heavily limited until 1977, when the AKAA, along with the Aga Khan Trust for Culture (AKTC), established itself as a tool and vehicle for bringing recognition to regional architecture, culture, and practices; thereby expanding the range of spotlight on global architectire. Such a display of design and architecture which tends to be marginalized by mainstream architectural discourse opens conversations about new possibilities in innovation, materiality and much more. In fact, when MoMA’s Small Scale, Big Change: New Architecture of Social Engagement (2010-11) was launched, it signified a shift from the ‘western’ appreciation of what ‘architecture’ entails, and AKAA winners were featured during the exhibit.17Architect Francis Kere was among the architects features at the MoMA exhibit, who was also a recipient of the AKAA 2004 cycle. Kere was recognized for his Gando Primary School Project (2001) in Burkina Faso, which remained relatively unknown until his 2004 award. The AKAA elicits more than a mere building to initiate conversations about architecture. A considerable focus is directed towards aspects of the community- benefits for communities, community engagement, resources, etc. Instead of focusing on a single style, or establishing a rigid ‘Islamic Architecture’ award, HH. Aga Khan chose to surpass formal boundaries and identify built spaces that capture the essence of a pluralistic ‘Spirit of Islam.’ The Development not only awards architects/projects but also conducts conferences, releases publications, films, and has an extensive database of project documentation. Furthermore, educational programs across the world, including Figure 5 Countries where AKAA recipient projects are located globally. courses at the GSD and MIT are offered, Source: Author with many lectures made available for public viewing. During the past four decades, 116 projects have received the AKAA, and 9000 building projects have been documented and are available through Archnet.18 The AKAA is now, arguably the most prominent platform for the dissemination of ideas and practices in Muslim communities, while also contributing to international discourse.
16
(Yucel 2018) (Yucel 2018) 18 Archnet 17
7
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Criteria for the AKAA: The primary criteria for award selection decouples the projects from the any geographic limits – such as the Middle East. Nominations are accepted “not only from countries whose population is primarily Muslim but also from other locations where community of Muslims might be in the minority.”19 The second criteria is that of excellence. The award is granted for the value that the buildings, landscapes, and built environment brings to the quality of life of people- culturally, socially, aesthetically. The fluid nature of these criterions imply the understand that architectural projects increasingly need to respond to local situations and demand creative, innovative solutions and strategies. It embodies the understanding that architecture can build pluralism. Amidst global tensions of globalization and patriotic sentiments of nationalism, our built environments “can provide stages for this conflict to be choreographed, bridging the gap between cosmopolitan and the local through dialogue.”20 Architecture can be used as an agent for change, and as a tool to improve the quality of life of users. It is this fundamental principal or ideology that the awards is based upon.
Figure 6 The very first Steering Committee of the Aga Khan Award for Architecture which developed the developed the award program in 1977-80. Seated left to right: Hassan Fathy, HH The Aga Khan; Renata Holod. Standing left to right: Hasan-Uddin
19 20
(Aga Khan Award for Architecture 2016) (Aga Khan Award for Architecture 2016) 8
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Khan, William Porter, Dogan Kuban, Sir Hugh Casson, Oleg Grabar, Gar Campbell, Nader Ardalan, Charles Correa. Source: AKAA/Christopher Little
“By refusing to be exclusive or doctrinaire, the AKAA has effectively installed itself within the architectural culture at large. It is not a small achievement to do this without collapsing back to what Edward Said sees as a postcolonial ‘obsession with the West frequently accompanied by a politics of blame’.” – Sibel Bozdogan, 199221
Part 3: Case Studies: The case studies were chosen to reflect, in a small manner, the ability and diversity of the AKAA to choose small as well as large scale projects. Projects that would otherwise garner no attention, as well as projects that are capable of drawing high socio-political attention. These projects are also chosen to reflect the range of capital investment in projects, highlighting that disregard for “high-profile” architects, location, or client. i) ii)
Primary School, Burkina Faso, Francis Kere, (2002-2004 Award Cycle) The Palestinian Museum in Birzeit, West Bank; Heneghan Peng Architects; (20172019 Award Cycle)
Primary School, Burkina Faso, Francis Kere, (2002-2004 Award Cycle): Year: October 2000-July 2001 Location: Wénéyda, Burkina Faso. Architect: Diébédo Francis Kéré Site area: 30,000 sqm Cost: USD 29,830 Located in the county of Burkina Faso, the school is the result of one man’s mission to improve conditions of his village.22 Diebedo Francis Kere was the first person from Gando to study abroad. Convinced that education is the propeller for advancement of communities and people, he took upon himself the duty of building a school in his village, while studying in Berlin. His design for the school combines modern architectural language and materials appropriate to its surroundings and contexts. To achieve sustainability, the school was designed for climatic comfort, with low-cost construction, involving local materials and community members for the building process. The building consists of three volumes, each containing a classroom measuring 7 x 9 meters, arranged linearly and separated by covered outdoor areas. The structure consists of load-bearing walls made of compressed earth blocks. The space frame roof with corrugated metal sheeting is supported by concrete beams and steel bars. Six houses for teachers and their families are arranged on the southern limits of the school site. Barrel vaults made of stabilized earth brick were used, introducing a new typology of construction in the region. The overall form of the school creates a contextually appropriate and 21 22
(Bozdogan, The Aga Khan Award for Architecture: A Philosophy of Reconciliation 1992) AKAA_cover FINAL UK/US 20/10 (s3.us-east-1.amazonaws.com) 9
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
striking presence within the landscape it sits on. “The combination of a modern architectural language with traditional materials, and of thick brick walls with a floating, almost ethereal, trussed roof, has produced a building that is comfortable to use and sustainable, but also elegant in form.”23
Figure 7 Exterior view, with lined up children before classroom. Primary School, Gando, Burkina Faso. | Özgür Basak Alkan, ArchNet
Figure 8 Site Plan, Primary School, Burkina Faso. Source: Archnet
23
AKAA_cover FINAL UK/US 20/10 (s3.us-east-1.amazonaws.com) 10
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Figure 9 Architectural Drawings of the Primary School, Burkina Faso. Source: Archnet
11
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
The Palestinian Museum in Birzeit, West Bank; Heneghan Peng Architects; (20172019 Award Cycle) Year: 2012-2016 Location: Birzeit, Palestine Architect: Heneghan Peng Architects, Dublin, Ireland Site: 40,000 sqm Cost: USD 24,3000,000
Figure 10 Site Plan and the geographic terrain of the site of the Palestinian museum. Source: Palestinian Museum. Courtesy of Architect. Geneva: Aga Khan Award for Architecture, 2019 .24
This project was built to celebrate Palestinian heritage, to “foster a culture of dialogue and tolerance.”25 The site of the project is characterized by agricultural terraces formed from dry stone walls, called sanasil. The design follows a similar pattern and blends in with its surrounding topography.
24 25
Palestinian Museum. Courtesy of Architect. Geneva: Aga Khan Award for Architecture, 2019. Palestinian Museum | Archnet 12
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
“The landscape of Palestine has the ‘worked’ quality of a city; every element of it has been touched and tells a story of intervention, production, culture, environment, and commerce… The building is clad entirely in Palestinian limestone, stretching out long on the high eastern parts of its site.”26 The zig-zag form of the Museum stresses the link with the land and symbolizes resistance to West Bank’s occupation by the Israeli military. The west façade’s masonry has upward openings in two places, carefully planned to protect t3he interiors from solar glare and heat gain while simultaneously designed for maximum natural light. This is one of the measures that has helped win the building a LEED Gold certification, the first in Palestinian region. Furthermore, a garden is incorporated into the design, that produced local produce and supplies to local Palestinian cafes and restaurants.27 Report from the 2019 AKAA jury:28 “Programmatically, the building displays regular exhibitions that document the history, cultures and ambitions of the peoples of Palestine. Its activities are intertwined with the vibrant educational environment of the nearby Birzeit University. The building’s very existence, its level of detailing and the perfection of its design and specifications – built despite a condition of occupation and siege – can be understood as nothing less than an act of hope for current and future generations.”29
Figure 11 The Palestinian Museum, Source: ArchDaily
26
Palestinian Museum. Courtesy of Architect. Geneva: Aga Khan Award for Architecture, 2019. Palestinian Museum | Aga Khan Development Network (akdn.org) 28 "Report of the 2019 Master Jury.” In Architecture in Dialogue, edited by Andres Lepik. Berlin: ArchiTangle, 2019. 29 Microsoft Word - 2019 Master Jury Report (s3.us-east-1.amazonaws.com) 27
13
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Conclusion William Curtis writes in his book Modern Architecture Since 1900, that “It is a commonplace of art history that one should never try to write the history of the recent past. The reason given is that one is liable to be biased.” Much like our global understanding of equity and representation is evolving and a continual process, so is architecture and design. Modern architecture is neither better nor worse from its past versions, histories, and ancestors. What matters is the quality of space, and how it speaks to its users and community. While it is blatant that architecture cannot all be consigned to a single ideology, the architect of the late 20th-early 21st century finds themself confronted by a disturbing set of realities, stemming from exclusion, misrepresentation, unacknowledged heritage, histories, and narratives. We must recognize that spaces of pluralism should also aim to include, where possible, potential spaces of conflict, disagreement, or tension. Pluralism in the built environment is an exigence. It does not merely restrict itself to the inclusion of diversity, but through spatial design and architecture, encourages respectful, curious, conversation and discourse across differences. The AKAA through its fluid criterions, encourages spaces of diversity and pluralism, and celebrates them – projects like the Superkilen in Copenhagen, the primary school in Burkina Faso, or the Museum in Palestine encourage dialogue, and ideals of ‘sharing’, be it space, knowledge, culture, or histories across temporal and social boundaries.
References Aga Khan Award for Architecture. 2016. "Architecture and Plurality." Edited by Mohsen Mostafavi. Lars Muller Publishers. Aga Khan Development Network. n.d. Aga Khan Award for Architecture. Accessed March 1, 2021. https://www.akdn.org/architecture. Al-Asad, Mohammad. 2012. Contemporary Architecture and Urbanism in the Middle East. Gainesville: University Press of Florida. Bee Breeders, Architecture Competition Organizers. n.d. A Brief History of Architecture Competitions. Accessed March 2021. https://architecturecompetitions.com/a-brief-history-of-architecture-competitions/. Bozdogan, Sibel. 1987. Sedad Hakki Eldem: Architecture in Turkey. Singapore and New York: Concept Media, Aperture. Bozdogan, Sibel. 1992. "The Aga Khan Award for Architecture: A Philosophy of Reconciliation." Journal of Architectural Education 45 (3): 182-88. Curtis, William J. R. 1996. Modern Architecture Since 1900. London, Hong Kong: Phaidon Press Limited. Khan, Hasan-Uddin. 2020. "Architectural Competitions: Creating Dialogues and Promoting Excellence?" International Journal of Islamic Architecture 9 (1): 5-18. Network/Youtube, Aga Khan Development. 2017. Architectural League of New York Awards the Aga Khan Their 2017 Presidents Medal. July. Accessed March 2021. https://www.youtube.com/watch?v=xhIu5t1WgI&ab_channel=AgaKhanDevelopmentNetwork%28AKDN%29. 14
Saba Fatima sabafat@uw.edu ARCH 598 C Wi: Modern Architecture & the Critical Present Department/Program: MS Architecture (History & Theory)
Rizvi, Sandy Isnestadt and Kishwar, ed. 2018. Modernism and the Middle East: Architecture and Politics in the Twentieth Century. Seattle, Washington: University of Washington Press. The Middle East Institute. n.d. Architecture and Urbanism in the Middle East, Viewpoints Special Edition. Wharton, Annabel Jane. 2001. Building the Cold War: Hilton International Hotels and Modern Architecture. Chicago: University of Chicago Press. Yucel, Sebnem. 2018. "Architectural Spotlight; The Aga Khan Award for Architecture." International Journal of Islamic Architecture 7 (1): 207-223.
15