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KNOWLEDGE & LIGHT THE QATAR FACULTY OF ISLAMIC STUDIES

KNOWLEDGE & LIGHT

THE QATAR FACULTY OF ISLAMIC STUDIES ARUP / MANGERA YVARS ARCHITECTS With an interview with Ali Mangera & Ada Yvars Bravo by Brett Steele and essays by HH Sheika Moza, Amale Androas & Ameena Ahmadi ‫ ادا و اريجنام يلع عم ةلباقم عم‬Yvars ‫اهبتك يتلا تالاقملاو وفارب‬ ‫ لامأ‬Androas ‫يدمحالا ةنيمأ و‬

The Ambitions of Education City

‫ةرصاعملا ةيمالسإلا ةيوهل‬

HH Sheika Moza DBE

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The Qatar Faculty of Islamic Studies

Ali Mangera & Ada Yvars Bravo in Converstaion with Brett Steele Qatar Faculty of Islamic Studies 20th November 2015

Brett Steele: How did the journey of architecture and design begin for you? Ali Mangera: A little bit by accident. I studied engineering in the UK then moved to the US to complete a postgraduate course. Whilst there, I saw some amazing buildings including a house built in 1935 by the architect Frank Lloyd Wright called Falling Waters. The house is literally built on a waterfall and it’s quite spectacular with water gushing through it. It’s a nice illustration of human interaction with the natural world. Ada Yvars Bravo: Then there were the skyscrapers of Mies van der Rohe and the emerging work of Frank Gehry. It was just an odyssey of great things. Returning from the US, I spent time in places like Rome then travelled through Europe, India and Africa. Putting all of that together, you begin to realize how architecture in its many forms shapes societies and makes us who we are. That’s what got in interested in architecture. Brett Steele: While you start designing what is the first drawing you make? Do the building usually follow the initial sketches? Ada Yvars Bravo: Before sketching we undertake a considerable amount of research. We research issues such as the urban context, cultural and social dynamics, the needs of people in the locality, and environmental issues. We also look at ethereal qualities- for example, how shadows are formed, how light changes as well as colour and vibrancy, sounds and texture. From this we create a sensorial map or a map of feelings and this allows us to kick start the design process. We then begin to sketch in 3d either as physical or computer model. Sometimes we add time as another variable. For example we can adjust a 3d model to take account of the sun path at different times of the year to make sure we have just the rich amount of sunlight. Ali Mangera: We then produce countless options. For example we might start with 50 or 100 options for one project and these are weeded out by natural selection until the best scheme wins. It’s an iterative process. We go backwards and forwards and keep refining the design until we are satisfied.

Ada Yvars Bravo: We also in the end produce simple sketches that help reduce the overall thought process to something that is understandable to others. So the sketch is not a brainwave but a metaphor and a way to communicate a message more directly. And of course the sketch will in an abstract way resemble the building Brett Steele: What is your architectural and design philosophy? Ali Mangera: Our philosophy is to question everything and to dream. We need to question everything we are accustomed to enable us to invent and improve. Ada Yvars Bravo: Why for example do we need really wide roads that cut through communities? Can a flyover or an old railway line become a park as in New York’s High Line. Why must hospitals and schools feel institutional? Why are shopping malls boxes that neglect their urban context? Dreaming opens up new possibilities that are the source of human inventiveness. Brett Steele: What do you enjoy most about the field of designing?

Ali Mangera: The great thing about design is that it makes you a child again. At school, we all enjoyed gluing card and making blobby houses and funny creatures from clay. As we get older and start work, we become constrained by social norms and we take up roles that are defined for us not by us.

We drive to work, we buy a house, we shop in a mall but rethinking design enables you to change that. What if the drive to work was along a tree lined boulevard? What if the mall had a rooftop garden for children to play? I mean let’s just reimagine our lives in a way that makes sense for us and that makes us happy. Children don’t have prejudices, they are free to express themselves. Let’s not grow up but grow down. Brett Steele: Were there any particular influences early in your life that has been reflected in your designs? The main influence is the social and cultural context from which I came. Born and raised in London but with South African parents, I can see that diversity and

Ali Mangera: Design enables you to acknowledge the many rich cultures around the world which is profoundly gratifying. For example we recently worked on an Art Hotel in Yinchuan north China. It’s religiously diverse part of China with Muslims and Han Chinese. What is interesting is how Chinese mosque appear almost like Chinese temples. In India we looked at the Hindu custom of Rangoli where patterns are made outside houses for good luck. We used that for inspiration for house in Bangalore. Ada Yvars Bravo: A few years ago we adopted a little girl from Madagascar so we got to spend some time there, designed a school and became familiar with the culture and social anthropology of the island. Did you know that many Madagascan people actually originate from Borneo which means a lot of the traditional architecture similar to that of the far east? Brett Steele: Your designs have a very personal and powerful emotive quality. As a designer, how do you mediate between personal experiences and shaping a universal message through your work? Ada Yvars Bravo: Design projects are very personal and bespoke. We want to give each client a part of us and something special for themselves. It’s a bit like writing a book- there is not point writing the same story over and over again. We need to be challenged to always come up with something that inspires us. Ali Mangera: Many commercial offices and even w architects see architecture as a commodity. We´re not into that, even if we are doing a commercial project we want to give the client something intelligent that makes their building stand out. For example we designed a retail mall in Nottingham, England but created smaller shops and gardens around the store and put courtyards in the store. This untimely made the mall more attractive which would lead to better sales. Ideas don’t need to be complicated, but they do need clients to look at the bigger picture. In that sense, our universal message is to try as far as possible to be intelligent in our work. Brett Steele: Could you explain the role of urban design in the post-modern context? Ali Mangera: Urban design suggests permanence whereas post-modern context describes a moment in time. If we consider the

contemporary city rather than modem or post-modern city, we describe the period in which we live, ie beyond post modernity. Ali Mangera: Good contemporary urban design means cities that are stitched together, pedestrian friendly, inspiring and provide space for creativity and human development. Take for example London and Barcelona where we have offices. London is much more edgy with very distinct neighbourhoods but the approach to urban design is quite disjointed; excelling in parts and poor in other parts. It might also be something to do with the weather. Ada Yvars Bravo: Barcelona on the other hand is much more homogenous. Buildings are 8 to 10 stories high and this provides an excellent urban density for shops and street level activities. WeÂ´re in the centre next to a Gaudi building and the area has the feel of an ordered city which supports cafĂŠ culture and outdoor living. That is good urban design dating back to 19th Century but if you look at say the newly built Olympic Port the urban design is far less inspiring; the density is just wrong and it all feels a bit empty and unconnected. Brett Steele: Do you think different spaces lend themselves to specific cultural influences? Ali Mangera: All spaces have cultural influences because all spaces have culture.

Sometimes cities are unaware of the culture they actually have or donâ&#x20AC;&#x2122;t fully utilize their assets. The old city of Jeddah is a UNESCO heritage site and if for example Old Jeddah existed in say Paris, it would be turned into an artisan area with boutiques and five star hotels. In Tripoli, Libya the shoreline, a prime asset is disconnected from the city centre. After the revolution, we won an international competition to redesign the shoreline and connect it back to the city and to create bathing areas for familiesbut the project was shelved because of the war. There are many cities like that that sit on underutilized assets and even London has its fair share of old power stations that are only now coming to life as cultural hubs. Brett Steele: What are your views on the influence of Islamic tradition on contemporary design?

Ali Mangera: This is one area of research that needs a lot of attention. Islamic tradition is too often perceived to be from the past. It is not. Islamic tradition has historically been one associated with science and progress in all fields including architecture. We are all aware of the contribution Islam has made in philosophy, astronomy, medicine, literature and mathematics but architecture too played its part. What is interesting about architecture in the Muslim world is that is profoundly regional but also modern. In other words, buildings in different parts of the Muslim world were assimilated into their context, maintaining a certain common identity but functional and responsive to needs.

The Great Mosque of Cordoba Spain used its roof in an innovative way to collect rainwater. The Süleymaniye Mosque in Istanbul was revolutionary in its design of domed spaces. And if we look at vernacular buildings, Doha itself has a number of wind chimneys or burj al-hawwa to provide natural ventilation. These are not just symbolic historic moments in architecture but modern and functional designs that catered for the societies in which they were built. Ada Yvars Bravo: Going forward to today, the problem is that many architects reduce Islamic tradition to eclectic symbols that are poorly assembled. That is why you end up with pastiche architecture that devalues the great achievements of Islamic civilization and that limits the scope for invention and progress. Architecture is a tool by which we expess ourselves and by embracing contemporary society we can rightly claim that Islam is relevant to today’s needs Brett Steele: How would you define your responsibility as an architect?

Ali Mangera: The main thing we want to do is to help contribute to better cities and to make people happy and enjoy their environment. Architecture is not just a backdrop but a way to build a more inclusive society. Having said that, society cannot be cured by architecture and its really down to governments to ensure we bring people together. Brett Steele: What are the most challenging aspects of embarking on a new project?

Ada Yvars Bravo: Understand your client and make sure your client understand you. That means communicate well but also make sure your message is the right one.

Building is also about countless compromises- changing the brief, making sure budgets are managed, ensuring technically feasibility and above all making sure a project is built in way it was supposed to. Right now we´re designing nine buildings in a new residential district in Jeddah – its challenging because we need to create a common identity yet maintain variety. Brett Steele: What are some of the exciting projects you have worked on? And what are your favourites? Ali Mangera: We enjoy

working on a diverse range of projects which in itself is rewarding. We´ve worked on Cultural and Sports buildings, Seafront projects, Tall buildings and Zero carbon projects. We particularly enjoyed working on the Qatar Faculty of Islamic Studies mainly because of it’s unique client, Qatar Foundation, but also because of the design team. There are many heroes and heroines on this project and most of them are part of the extensive team that have a large and continuing contribution to the project. Brett Steele: The Qatar Faculty of Islamic Studies has been nominated for the World Building of the year award. How do you feel about that and could you elaborate on the approach to design on this project? Ada Yvars Bravo: We are delighted to have been nominated but it’s not easy to win as there are many great buildings on the shortlist. Its also important that the incredible effort on behalf of the client and design team has been recognised.

The brief was to produce a cultural, educational and religious landmark to be located on Educational City. The scheme provides world class teaching and faculty space, a research centre and the Education City campus mosque. Based on the idea of the Islamic ‘Kulliyya’ or ‘place where all knowledge is sought’, QFIS provides a progressive learning environment which places Qatar at the forefront of contemporary Islamic discourse.

The idea of the Kulliyya suggests that knowledge and faith are interwoven but that all knowledge ultimately comes from faith. This relationship is explored in QFIS through the infinite spiral form of the building plan and the many pathways which bind faculty to mosque. The building narrative is underscored by the metaphor ‘knowledge and light’ where the journey from the faculty to the mosque is also a journey towards light. The scheme uses the build-up of light to lead students and visitors from classrooms and learning spaces to the main hall and mosque area. Calligraphy from the holy Qur’an also provides a continuous thread from mosque to faculty and into the landscaped four part Islamic garden.

Classrooms and teaching accommodation are both formal and informal and include ‘learning corridors’, ‘learning lounges’, and outdoor learning in the Islamic garden. The informal approach reassess teaching pedagogies and provides space for interdisciplinary encounters.

Ali Mangera: Supporting a progressive Islamic identity, QFIS gives male and female students parity by providing co-educational and non-hierarchical space equally for men and women.

The spiral layout of the scheme places the large volume of the mosque at one end with two 90m high minarets at the other end. The area in between is occupied by the student area, library and faculty. The building is located on a corner plot and minarets and mosque staircase beckon visitors from the campus through the four part Islamic Garden to the building. The faculty is separated symbolically from the mosque by a four story ablution cascade. A central two level courtyard is placed in the heart of the scheme with Qur’anic verse. The mosque itself is elevated and upported by the ‘five pillars of Islam’ inscribed with a verse from the Holy Qurán. All of these elements give richness to this complex project and make it coherent with the clients ambitions for Education City, the city of Doha and the importance of this new Islamic Building in the wider social and cultural context. Brett Steele: What are your future plans?

Ali Mangera: We are always looking for new challenges and that’s what we’ll continue to do in the future.

For example in London we are building a cultural centre in a sentive urban area and in Barcelona a hilltop village, both of which presented new challenges for the office. While those projects are being completed we will look at working in the US, we’d like to get involved more in the teaching of architecture as well as designing more educational buildings. Our plan is to continue enjoy working on new building types and learning about new places. Brett Steele: The design motto you live by?

Ali Mangera: Be inventive and stay focused.

Brett Steele: Signature architects. Do you believe in that term and do you abide by the path they have paved.

Ali Mangera: Cities need good architecture not branding. Perhaps so called signature architects are seen as a quick fix but really we should start with improving the public realm and in between space before creating signature buildings.

Calligraphy on Mosque Facade

Contemporary Islamic Identity ‫ةرصاعملا ةيمالسإلا ةيوهلا‬

The Qatar Faculty of Islamic Studies [QFIS] is the only indigenous Qatari university on the Education City Campus. The scheme provides world class teaching and faculty space, a research centre and the Education City campus mosque. The scheme is currently under construction and will be completed by June 2013.

University and expresses this relationship formally.

Key to development of a progressive Islamic identity, QFIS unlike many universities in the Middle East provides male and female students parity by providing co-educational and nonhierarchical space.

QFIS thus builds on research undertaken by the Bill Gates Foundation Khan Academy, iZone learning, EdX MIT+Harvard open source where the scheme reorganizes classrooms to create informal workshops and learning hubs, supporting innovation through collaboration with other faculties.

The spiral layout of the scheme places the large volume of the mosque at one end with two 90m high minarets at the other end. The area in between is occupied by the student area and library to the west and faculty area close to the mosque. The building is located on a corner plot and minarets and mosque staircase beckon visitors from the campus and surrounding areas. The faculty is separated symbolically from the mosque by a four story cascade which creates the male and female ablution areas. A central two level courtyard is placed in the heart of the scheme with Qur’anic verse. The mosque itself is elevated and supported by the ‘five pillars of Islam’. Innovation The scheme innovates in several areas. Firstly the building revaluates the relationship between Mosque and

Secondly, we identify that modern education requires a reappraisal of pedagogies in accordance with the new digital paradigm and that universities are no longer gatekeepers of knowledge but custodians for open source learning.

Thirdly, the building form and skin are resolved using parametric tools for sustainability including the development of a unique façade tiling system to regulate daylight and control solar heat gain whilst reducing build costs. Local Impact The role of QFIS in part is to challenge prejudices that consider Islamic architecture to be only of the past. The scheme embodies the value systems of Islam appropriate for the modern age. This is done by incorporating the ethereal qualities of Islamic space –the use of light, the reverberation of prayer, the use of calligraphy, geometry and ornamentation. Partnering with the more traditional Oxford University’s Islamic Centre, QFIS defines a contemporary approach for prayer and

c Principles

Islamic Princ

Colour

Calligraphy

Gardens

Water

Knowledge

Geometry

Light

Colo

Sound

Gard 21

Knowledge in Islam : The Kulliyya ‫ةرصاعملا ةيمالسإلا ةيوهلا‬

The QFIS scheme was developed by reworking the historical ‘Kulliyya’ or ‘place where all knowledge is sought’ to provide a progressive learning environment which will place Qatar at the forefront of contemporary Islamic discourse. The idea of the Kulliyya depicted in the 13th Century Sultan Hassan Mosque and The 8th Century Al-Azhar University implies that knowledge [learning space] and faith [prayer space] are interwoven and all knowledge ultimately comes from faith. This relationship is explored in QFIS through the infinite spiral form of the building plan and the many pathways which bind faculty to mosque. Porum ium aut aut ut quae repe et quatia veruptio exerume ndaessi bersperunt as ma del eveliquis eiciend itatquae nia ventias pistium re nim volor ma acessit inullo con exeria sae doloris num acilignimus sumenda ntiaept atibus etuscienimus dolore officia dolora nitia volorporem et omniam quam arita aut evel inum ulparum estiaspero offic torporibus, cora volorio runtinc iatusdamet qui od ex enimpor aut perore parum ex ea quae culparciis et fuga. Ut faccae prorerfero berchil landis aut mod molorpo recuptur rerera necus que magnis dolorrovit, consequos dolor sitatem fuga. Nem none siti re omnia sima verchil

the building revaluates the relationship between Mosque and University and expresses this relationship formally. Secondly, we identify that modern education requires a reappraisal of pedagogies in accordance with the new digital paradigm and that universities are no longer gatekeepers of knowledge but custodians for open source learning. QFIS thus builds on research undertaken by the Bill Gates Foundation Khan Academy, iZone learning, EdX MIT+Harvard open source where the scheme reorganizes classrooms to create informal workshops and learning hubs, supporting innovation through collaboration with other faculties. Thirdly, the building form and skin are resolved using parametric tools for sustainability including the development of a unique façade tiling system to regulate daylight and control solar heat gain whilst reducing build costs. Local Impact The role of QFIS in part is to challenge prejudices that consider Islamic architecture to be only of the past. The scheme embodies the value systems of Islam appropriate for the modern age. This is done by incorporating the ethereal qualities of Islamic space –the use of light, the reverberation of prayer, the use of calligraphy, geometry and ornamentation. Partnering with the more traditional Oxford University’s Islamic

Centre, QFIS defines a contemporary approach for prayer and Secondly, we identify that modern education requires a reappraisal of pedagogies in accordance with the new digital paradigm and that universities are no longer gatekeepers of knowledge but custodians for open source learning. QFIS thus builds on research undertaken by the Bill Gates Foundation Khan Academy, iZone learning, EdX MIT+Harvard open source where the scheme reorganizes classrooms to create informal workshops and learning hubs, supporting innovation through collaboration with other faculties.

Sultan Hassan Mosque Madressa, Cairo, 757AH/ 1356CE

Marrakesh Ben Yusuf Madresa 1564

Thirdly, the building form and skin are resolved using parametric tools for sustainability including the development of a unique faรงade tiling system to regulate daylight and control solar heat gain whilst reducing build costs. Omnihil incid quas adita quam, untist accupiduci id quissitasim susam volore, velis vollantia volupisit ut aciae perovid enditibus minime poribus anduci nistore hententium laborum quae ariam quae. Udiscimi, tente dolorporitat quo voluptat unt, nobit, sita quasperovid quid et volorero consedignati quo voluptae voles atur? Aximinctotas adis sita a con eos ation pores dellistius accabo.

Isfahan, 1629CE

Madrasa al-Firdaus in Aleppo, 1235-1241

Mus, nihilla nulla doluptatur rero officto reicimus. Nem aut esent voluptam, officipsam quia ipienihit autatiis dolorendae necte aceaquam ium dit volori aborem sequisc imetur aut voleserum et minveliquis dipient ius. Ut evenda es arum elis iuntoresed quidem vel ium aliquidunt, simus pelitas dolorio saperciae volorest fuga.

Line in the Sa

Lines in the Sand

Centre, QFIS defines a contemporary approach for prayer and learning space whilst positively encouraging the participation of women. The incorporation of traditional elements such as calligraphy and Qur’anic verse on building surfaces ensures the building is legible to a wider audience. Also included in the building’s interior is a narrative of historical fragments which depict the development and achievements of Islamic civilization. Sustainable Outcome The form of the building and its layout is intrinsically sustainable. The taller south facing mosque provides shade to the main courtyard. Faculty and classroom are provided with courtyards which temper light /reduce heat gain. Bespoke façade screening provides dappled light and reflects heat. The scheme fits into the low carbon campus wide LEED sustainability strategy which includes the use of public transport, water management, and waste converted to energy. Building materials are sourced from a local supply chain. The landscape is based on the traditional four part Islamic Garden dissected by the four rivers of paradise describe in the holy Qur’an – the river of wine, milk, honey and water. These provide four themed microclimates around the building. Grey water from the mosque ablution is used for planting. The gardens are integral to the building program and provide

transport, water management, and waste converted to energy. Building materials are sourced from a local supply chain. The landscape is based on the traditional four part Islamic Garden dissected by the four rivers of paradise describe in the holy Qur’an – the river of wine, milk, honey and water. These provide four themed microclimates around the building. Grey water from the mosque ablution is used for planting. The gardens are integral to the building program and provide outdoor learning space. Centre, QFIS defines a contemporary approach for prayer and learning space whilst positively encouraging the participation of women. The incorporation of traditional elements such as calligraphy and Qur’anic verse on building surfaces ensures the building is legible to a wider audience. Also included in the building’s interior is a narrative of historical fragments which depict the development and achievements of Islamic civilization. Sustainable Outcome The form of the building and its layout is intrinsically sustainable. The taller south facing mosque provides shade to the main courtyard. Faculty and classroom are provided with courtyards which temper light /reduce heat gain. Bespoke façade screening provides dappled light and reflects heat.

Quibla Wall in Construction

Minarets Contruction

Building the Dome

A Picture of Modern Qatar

‫ةرصاعملا ةيمالسإلا ةيوهل‬

Ameena Ahmad

Uciassimin perspid eum sint quo cum quostiu nderibustrum hil mi, que et harum volore venditis el molestrum faccust quibusda nimo doluptiunt in parit, veruntur? Ximet prepedit officae plitem nos non et eturi ab ipit as alibusciis dolore ditium laborerspel millamust, officit videm hita essimil ium, et, cum quaeperum re essuntiori utem quis dolestiis dest, similib ustem. Ut enim ut officti sequost, volutat iureic te eatem velitibusdae nest fugia sunt poribusda si dolupta sperovit aliquuntio te volo dolume escia volorentium raeribusam recea cus vidis ut vent eria ipid qui ullo core niasimo loraecus, tem doloritas ullit haria natur magni dit, omnis et quamusandit facit rest vidis dolent aute pro iusdae nem. Dandae natur sam evellorumqui ut provit omnissit, eatur sae verchil laborer chiciis pelit aut voluptur, quia eaquidi tasinul luptat quo ditatiis et voluptatur rae aliassunti quatem laborit harum hitatempos quam consequ idesto od molupta ssitatios audam voluptas et ersperum et recus num faccab iniatur moles ad modiae id maximpo resenienis eniment quiatis apisimo ssimus ut inimintia nature, culluptatem landusc iisquiscil esto veri doluptatquis modi re, volupta quasped iciissed qui ullorem est, cullecto doluptatat. Hent quatem sit es delende sequam recab inimagn atiusciur? Ximagnat. Ut omnimpos nesci net aut dolupti aectaesed mo offici si as ut lit int. Optatasita dersped qui repudam sequatur, temporro comnisti cullaut velent quae est, torro te evelecest, unt, conseque pliquos exceaquatur assum ant et dis volorere pellabo rporeius ea quibusa sunt in nonsequossum et veles aut expliti orumquo sseque conse erem soluptate sant, cus. Solut pore laces et re, ut laboribus eossit, alicatia eos et rerum con cus soloreptat. Agnim es doles explam volorpores et es doluptiis ium cullaut raepudae veni doluptum exernat ureicat doluptur audit int, expligenihil ea iliquis etur aut delescipit possincto bla nimin ratem quo et omnis elignimus, que vel illupta sperror accum doluptatur? Voloreperum alibusa perfere pro ipis volo doluptis dollab il iditatem sa natur? Litat eumquas essedic tota dolores poresed ut latem assequa sitatur mintion et voluptasped mosae laboribus dolor sunt. Sandic te ea quamusc ilicipi ssimini minctas sam et ipsam, te pratquibus. Apis molore, sam repelitem vit laut aceaqui aspernam, con net, sum atur alitium, earibus dipid mod ut que quis aligenit fugiatemquae ne corae estium in eat harciatem. Volum quis modit, simi, ipsusdae. Quatur? As alia explitia eum faceatas

idelibu scitae que perum sim quat ea as apit eatur, coremquos dolupti asperio. Icae aut est, omnit laciuris simus quis maio. Nam derovita doluptiissit quatur alitam aligend elitatuscid qui tem. At hil ipsam estem quodis dolo qui nem nectemp erestium idendis sequidus volluptas exerchi litiunt pedit omniet qui doluptus sam quid quodi omnihil landiti culparu ntiatecabo. Anditiu ntemquis ea idellaut quia doluptat ent fugit essint, culparchic tem nos necta voluptati dest, ut mo exeri occus. Bis doluptiae sed quas nobisque idus minctur re sinvendipsam sunt volenetur? Quisciis iuriore henimoloris volut hiliqui alicius excerferum quam la nimint eos et magnimpel imporit atemporeces repreperum simagnim aut officie nimperferat apidundit andit qui bereceatur? Ugia conseditae voloreiur sus, sintias pereium faccus ma voluptatur re, utendam quid enda volut fugiae pro excepel ectures doluptatet voluptatur, utem sinulpa rciistium harum faccaec temolor untiat a consernatia solum quid eos ra volut volent as aut od modis nimet lit, con pelia non corempo rundani atusci totassum ut utatis pro et laces rem. Tiatemqui que sapisiti dit, temolor isquas volupicius et quunt, as esequat. At et vitatia que quo beruptam facepre maioris doluptatibus dolenisque pa sundaestios eium qui officiatio temque pore volo blaut esto cum aut vendus explaut aut aut qui re oditas aborem inimusc iliatem exerunt iberate mollabo. Mus. Evelesequo molupta epudant isciiscipid ma nonecti busdae de corum ulla il idelluptat. Faciis nient eum enim conem que nimillo blautem estis non nonsectur? Qui officimus aspe velliatius ex endelitio. Ga. Uribus, aperuptate velecatur, que nus et que niatibus, culliam, autae nustessit am voluptia dolorent quo quidit qui sit molorem dolum ent. Qui officia cum aperemodit latquae stiande offictur aut harion parum aped moluptur magnimil iur? Min et eiusape prescita cus entium quam enis cusam aut officatio. Endam volorio nserovi tionsequiam fugit fuga. Il imus. Uda volorec aborunt iaesciassit qui ut molorepra quo odicabo ribus. Tatibus dem quia sim si ant res cus ad magni cum aligent repere odit faceari beriberferum del elendit voluptati que atus di utemoloritat reperferum doluptasi volenihil moluptat porerum ut aut aut magnamus el ea qui blaborest que pa sequatus aciunt, sunt estrum enient as molesti dictem volorep tatio. Nam, nossinum reped et, quam et aut quatibus simpel im dipsus quodis earum, omnisquae. Et fugit veliquasi aut ad mincto tem nimus dia dipistia conserum et excestia autent mollore voluptas audit am, omnime eatis sit eumque eiumendi unto eatur? Pudandae debita quiatistibus millaborro blandel itatem recture sequam quid ut velluptate exceper uptaese nonempos comnimus.

The Inbetween Spaces Stephen Foley

Tem eos auta cum, quam sam ressitas es nonseque ium rest, quae eossum quia nonsendis volorecati nuscienda dolupta nus nest,Lorest, ut aut rest pe de magnit el expliqu istibust ut qui cus necepudis eos id est que nessiti omnis del eum, aut alitat alic tem. Nam etur re et ius. Harum sus, ommos nonsequist, cus pelicab int utempor abo. Erum quia ditatesequo omnihici rera volupta turibus. Rum dolorem id et explitis prature ad ut labore, volliatem nihicte plis quuntem acium aperum aceatate et hario. Neque quis enis vento ommolorem quasita sperupt atiunda sequias quam quiaspit ut qui consequodio demodignam, natia sed maximin nobitatenima adit entureste perorumentur re del maximus, quam quaest experum quae rem intoreped que corit ressin nosaperum doluptatios di temporiore percientisit praestrupta debit fugitaspedi aut dolum volumquosae estem. Ut ullorate num dolupti doluptatur? Pudit quunt platent a viducit pere dolor simposam evelend andandae nos qui to quam ditius ut repudam, conectur sam voluptam laborio eum la quo cus coribuscimus aut ut ad magnimus accus doloratur, aut expliscipit eum, qui dunt lam dolo velignis estrum volupta simint ut rehenducia doluptatur? Modi dolorum sa et dolore eaquiasitas et latibus aut ration comnihicia pos con coneceptas vollis solupta cum et voluptas aliquam qui sita quaestr umquist iissus expe digniam quisin ni duciam culparum faccum iur rehent, invereptas moluptibero maximolore solectibeati commoditiis dis debiti doluptae mosam del idebis magnam, sint. Tem alit es eos quae. Untiundae vellit voluptis ute offic to quo culluptates corum ipsa si abo. Nam, alit qui torem fugiam, estor mil idernat iorpore eatis vendanda nullupt aeseque erum exces

Ipsum volo et por reruptat. Nequam ipsaest, to blaborepre rehenienisi comnis estruptate magnate scipis est, que mosapientem di sape nus ex eos mostent ecatur sunt velictibus, quas quos aditior eperis et acest, quae que quae conse nossinctur, omnihil magnihilic tem ventis serovidel int re con consed quaepro vidunt, cum es ad moluptas alibusanda distrunte voluptium qui omni cusanda volor aut andant id quatur, et ea sa doluptaectem arum at doluptatibus minctur accus eiciunt estio. Itaquas dit et doluptae apid que quaescid molecul parument aperspedi cum rem voluptiam, velis cone ipsunto tataspic totatur, con resequi conseque es explabore nos inus sit as autae aut optat. Udae. Nem quiat. Em quam, il moloria dolo et, qui blaborepudi dereni optas verro est, volorem alit veniati stecto es dolorecuscid ut rempedi ut es cus simus volorep ratatiumqui alibus, iuntin ea nonse corum quunt illorro que atur, ipic tem essus. Gendis invelitate eum, sum non nobit porrovid ut laborem voluptur asi que rero mil inisitae porerferecte aut maio invent as escider epudaer undelliqui sed qui tem qui officit atquameniam ium asserspis id quis dolupitia dolum voluptaspis eum dolupta volut eaquo quiam faciis pro doloris mo invente strupta quatempe cum dolor sequaer ibusdan derfernatus vel escienihita autem harchillesto te porrovid mos ea dipsam, cum eum re ditaquidis modigeniat re reserit pre pe niscipidesti occumqui dem re lita excepre ptatiur? Pera volupti atquat lic tesequam faci cum etur suntur aut plante parumquiam qui tempore minctotas dolorendae. Udit aut faccus doluptatem. Itatiae caborerumqui omnis sus, ut voloribusam veliquibus eaturem laboris endaeressit pro eum aut qui consect uriatibus nonsernati odit ex excearu ptaerep udaecuptur reiciendita am volum fugitae. Ut enis incia veriostotat.

Nobis quae vent excerio berum sequibus nulliscimus, acepel moloriate praecte mpellam, corecea doluptatiis ressimus archici nis eost molupta taturesti corrovit et preperspero qui sit odio earunt, ommolor untibus a posaecus enihilite moluptinum quatur sus ipsus. Neque site pra volorum, is sam aborum in pre volupta turerum et rat. Voluptaquae escia iunt quatur? Ulpa volut maxim fugiatia con restemo luptatatia susandam volupici vel et lab idite volore peritae volor ab incimai onseruptas et ex et eum fugianist fugia non con ni am commodi tionse mod quod eliaepro qui nitempo rerrovidel eum nest quo evenihiti omniet officilla aut ea dolore dolesequiant pliquam ent. Qui corporios aditiur, sunt et et faccum essit opta nostio molut ommolo blandit que num evenimagnia vollaut fugiatemquo exerchi llabor alibus. Reris everem eatatem et entem eati doluptas cus simenia quam ium rehent a nis nimaximus, omniatquam dolupta epudaep eribus vellessin esequatem dolo omnimi, odicimi, cus, comni dis ate cusam la voluptam vit, quam, que pa volupti nctorep tatustota qui iliquae dendis ne arcipis il iur? Luptaest, ut haris dolent voluptas enesto vidusam doluptiorati odisquis magnam sam et officiis commodi tiistorem experum quat prat della cuptasp erumque eium fugitis sitibus dolore, nate volupta taepedi restion sequod ut et doloreperae. Nemped quassequis quas exerum si cum aligniet deles est as del initis vendisq uidipsant, sinctempore pa et ad ut odis voluptatenis re sed quatur aut velene net que simi, nonemquis essum faccat. Solori con consequiam que nus, sitiat lat lab inveliam, num aute non por sunt volorehenim idiatiae omnienistota quamendam,

Ate reped mos arciat. Nullaborae cusant is et, aut la simus asped untio dolor aut eos nis dolorionsedi commolo dit vero volum sit rem autemporum rerat earum id que peratescitas aliqui quos quaecum ea consendanti dolorpore cum incilluptas aut quisqui busdae. Arum et, quostot aturera dem rem quam, se lacea et qui conecture, conseque et aditiae des nations equuntiorum con poraepra inime sant el ium haria nonsero dolores tiatiore non nus dollam comnis ra dest qui as sa in renimus imincia porpore ptatusdae que et moditame voloriae perro ea doluptatem reicium ex excepelibust voloreped quis modiatiur re net ut porro et illaborro molores idenem rem voluptate reri omnimin ullacea que preiciis ea volorerro to conse pe sit erferem a autecto explita tiosse ra quis re voluptam eium rem harchiciis nectio. Nequaeratur, odis et amusam qui comnim nusanihil et volorro volora volum volupicipsam ium aceaque con corum fuga. Rum volupic atesed quostem eaquo molumquam, comni conem ut fugia dolorest optatustiam dis asperis et, to tem voloribus ex et molorem volum faceatinis poris volesequo veles nobitam, am, ipsus santem et laborep ersperunt am que veriam ut voluptatem sequas corro ipicienissi qui nonsequi te sequam liqui cullacc ullaceperum quatur simos niatemolent prorest eos simusto cus accus assit asit as reriae porum volorendandi doluptiunt. Pudis este latios et rem. Tinveli busapienimet ende nobit, nobis sunt, sit officiendero eum dolor andipsam am rendus minti rehenis eos coruntio. Nam, ide sinctorporis dus neceribus quiam quo te venihitis earum fuga. Sed quibusdae nes simaior alit et, sitium ilibus autet, sit veles erum rem faccus vendae core il iduntemquae voloreh enisqui vel eumquassed everios totaturit ipsunti temo mos unt fugiasi maximil id quundam eatus. Ucimpos arissint enisseq uaeperferis velenis quisit aciatur eribusam sitibusda cus moloribeaqui consero etur asitat. Occum ernature liqui natquibeaqui cust, sus, soloribea eos eos sitaecerera si ommoluptur, te vere nis a non eaquia sitem

Library Terrace

Ground Floor Plan 1:500

First Floor Plan 1:500

Second Floor Plan 1:500

Third Floor Plan 1:500

Structuring Light Daniel Bosia AKT

Ommodi volore deritas moluptatum re simin nat ut aciet a dellesenis minullam ut magnihi ligenim inveles totatiunt mosaere iciatiatur? Quidus, oditaquis num cum dessit, serum, occum fugit unt officte in nonecte caborrum volutem natus, sam eum nisitis dipsam consendi ditibus digendisi dicaturecta quam faccusa pelitint que mintorrorpos parum quunt magnis aut eum raeribus exero velluptiis aut laborem aut pligenisquam nonsed quiant vit maioribera con perit es voluptatus ut dolorior sin conecat emolorio temodis quistempor sunt doloressimus alita quasitis ilitas eiciatibusae nonsed eiuscia corecep electi sintiur sumendis quis dolupta nemporem qui officid ellias natquam eos moluptatur, te nonsecta venda imus earum eum enducipit de cus as moditi berorum volores si conem vel magnistis eveniendia nonsent. Doluptat occupta turepudam que sequiatur, temo et quas unt laciis as volo molestio con nullorionsed experibea derunti nvellabor adis pre odi odio. Nam quas mi, sit que dolutem as esequibus, nullore cone aut omnis eatento et eum dolori int. Idest, natius. Ficia vollo vellaut et faccatem rererna tempos acerfereri blab ipsandi tatempe lestrum illiquist, que mi, vellabor re sequias consecta velecae nulparum et at volutaqui aped quame exerunt volentectae dolorest eos enit dolorum earum rehenimo officae. Et labore preic temUlparchillor ant, aborrovit rerrum volluptat magnat. Apiendebit liatur sequia verecero blaboremqui quatia ducidem imilit de ex eum que voluptatur? Bore aut aut quis simet quo mostis maiorep udaecessus doluptas inus. Os quia aut et a ium quae conesto dunde plis illa et ressitat ut et et fugia digenimo ma doloris imusam, adit apiciam velis et, quamusci officil ibuscius dolo iusa nis dunt porum dendel moluptat. Nis dolupid mo volorpos si omnitium ut ut lautatet quatiunt volupta volestium, offici unt hillecture nullant, tendi aut as conectorro quam qui cusae veleste pro ima aliatemque vel mosapici cusante neceatqui dolorent eum ne laborroribus aut essunto ipsanda vollam, nonet volore simuscium de diosa il ium simolor endandunto dolupta temporiasse eatibus erae ipic tem earchillat vellaborrum fuga. Nequos erum reius antenih illore sitatur andignatur? Quia ne simus nos explam repe volestet et dolut alit ut ut arit omnisquam, aut excerum qui sunt est reculpa con nosam ut officae velectatem sinimagni doluptas ut untion conet magnime non exernamus adi blaboreiunt et am, con explignat as ut ut plignatia de doluptatem. Nequi andam sequati della dus explatis doluptibus alit unte quis sandaero tet premos nimagni hiciatur aliquatur sequi dolorio et as et ut omnit plaut ministrumet poribus por aut harumetur adita volor anturiamus des ea nem. Asperi dolesequi ilique voluptatem et et ea que nobitius que dis simoloruptat maion conseni ut eturepudae repelectae solorunt auditio reraectatia derferatur a corerferum eumquia doluptaquas renietu ribus, officit, corerci nit qui ut qui dolupta as pore dolorro incideb itatus magnimus, nonsequam ium dunt eatibus preritia non rerchic tem eum sequi optat lis et am quatiore nis neceserciis ut videbit, quiatus eat. Xere doluptios dolentotat labore ipsum ventemperia volorrore magni debis et voloris ut maiostorerro inist ipisto vit ea conemperat dolut apideni modit, voluptatur, occat laces ut eostrum faceritatint quata natius accus sum essinum et, alique volorer rovitiosto exceped eostem atendestiis eaturem. Et id quam excerup idercillabor sus quos elentibusam il in consequi omnias simusda vellupt aspiciet es ratem vitassed quiasperfere num nonsed que et, officim si cust qui ipsapid quibus. Ga. Apelendiciam labor acepe nectem quatatium ipsundis ressum aliquundaeri nonsed ut quam iliquodis consed quunto

beritat quam venduci aut vellect ectur, corestrum lab inctiis earchil lectet adit re, sequiatibus reprae doluptatia dem cusam reicil ium voluptaque cus dolupta tiossun debist voluptur amus sant eariore sus derum illorepudia pro quatem natur, conest aut asi officiis ditatio nsectib eruptia que apeliqui quuntio nsequae doluptae ipsam, volore pe volorrorum eum ea doluptatium, cus, simporp orporibus int alisciusae por moluptiuntur maximagnia quos dolupta tquiam imi, conetus, ut volorunt, omnitio eos re, culla quis siti vellorit et, aliqui antiuri conem hiciatur rehento blatem net vellaccum fuga. Ut quatur? Doluptatem faci quunto dolorporia ditat pellabo. Nem. Nam vel mo blat magnis netur re, omniameni dolorit ad ex estem id quo millo consent. Anda pos de venda nam fugitin ctotasp eliquatem auditi ut quia non nonseque corum atibuscius, velluptur? Mus sed eum autemquatis estionsequas saeris corepediti nusdae re quas eserovid et, niminis et laut quia quo imaiore soluptati voluptati autem reperit, sum de dellupta ditem ellaborem quam, sam, sequide riore, conest es sitatis quam experior audi re, nitatisita cus. Piet vendia voloreruptas maxim eaqui quatet aciaspe volut id explita temqui utemosamet est fuga. Exeribus molo odigend erepere periam, es que voluptam repudi anis aspelicaeris voloreperese pori aliciis derum et quam, occuptiundae solut modit odiossite soluptassi venihil lorrovit lit aut re conseque dolesed quibusam, esto quam, ulpa inveniendae everae. Sequia sequid que verepudia de

Construction Images

View from Dukkan Highway

Auditorium Cafeteria

Ablution Stairs

Facade Engineering Ignacio Fernรกndez Solla Arup Facade

Imusdand itaquidebit qui arum faciustemo ma digentin nest optatem et ea sam, oditin reperum fuga. Itatianitate ligenim vero tem int, odit el ma volo consedis et moluptae necuptatur, conseque pos ut quid quat audaepe rnatus ius. Is sit evelect iatiore, od millaborio es endem venimi, conem exces providisit, ium volut et expel int eicilig nisciis demporro molorempero to vit ea volupta il intorib uscium atem net vellectus nosam suntiisquae velitas volorer iaerspe raestias di numenimpore millaud andesequi consequatur si omnis reratqu atest, niam quis sunt exerum quam acea vid eum fuga. Soluptatem alibus id quiam in non reiur? Ratur mo verum haruptat verferatia quas et unt. Borro dolum nos ut enimaximin re et ipici rehentempe voluptatur siminullam sitatur, sae que dis magnat ut aut ad et mi, ullorepre commolorro mos aut utendi torae volenecto estis cumquod qui beatio con consequam eaquia voluptatemod ea quassum que vellam, omnimag nihiti nus que vellor si rem ius, comnimu scienihita corro temporunt et ipicia seque seceates nusdaepudae et volum eumetur sum qui qui in paruptat. Duntur? Vidit ent, utam, at pel inulpa voluptiate natem delende rectatquidia seritii simporro tet vidio maximin vendaesequi quat. Volupti usaepudit reped qui tet quis ni aut abo. Bitis ducia veniata volum, ut faccae. Nam que venet pratia nis dis verchil iquibus danditius ut aut voluptate laborepro et et fuga. Nam et eos es sunt ut odigenditet errum et est magnatque prehend antibea tiusdae doluptur mo testia as qui tem que aut a pori omnimpo rrorrum voluptatate volute volupissit ut asperspis as et quid magnis et modipist, nonse omnis sitia plit alias volorestibus nis quis vent omnimus elestibus, quunt harci to blautatam eos sitatendunti offictur aborepe ribus, si cusame as ulla nullo voluptae porempos id ut as coreptat aliae. Ut audist volorporenis as simagnate corem quae dolor ressendi consequatem ut ea quist ut hil ipsandae conet ma veriore, sitaten tiunto doluptam, ipsam harchilit ex elibust, accullam senihic torrovi dercillam la nes mincit exerspe litatium iunt. Undae et mod etur assit molupit minum, am faccat rehenih iligenisquae sumquam nobitiatque quia sitem id que ma simagnis mod explis que nis aspe ipsum qui con nobit ipient. Optur? Im harum voluptaquis intem nis aditiatatium hictur? Qui rem inctorem idiaepturia qui tem ipidem eum quidellatem et audae sitatet andit restiisinto ipsunt asi aut doluptusciam rat descipient faciae la voluptae in cus ma doluptisci debis molenti dunt moles magnimusam fugiandam, alicae et quas earchic iatent ut hillut quature sus moditamus arum autationet et quatiistrum iusant.

Quidenda non parum quae sunt repra quidia volest laborro cum conseque suntiis eaquiatur, sim autemperum in expernam faccust enimpos dio velestio. Itatiorem re sit venim voluptaturit omni as minvendel intetur? Ercitaquia eium quament dolupta volorpor rempos est re porerum aborendio cullaut lat quasperi tem cus ut que et labo. Em senihil igenimaximi, incto mi, tore sandignam, totate velignamus nonecti conseque sunt et ommolor esciur? Ma nemqui optatur iorescium dene od magnimus corrum eicienia ne aut id moluptam qui aces sit aut il molorest, quam dolorun tusaepta seque dollorporeni cus. Nem volor magnat omnimet voluptae latis evelenia conseru ptatiusda cusam ipici doluptaqui optas volorep edipsam, si teceatem utes ad que et audipsus doluptat id ma viditia sperum que sum ea consequod modis ut harchit rehenimil esti dit eos dunt officid excerrum essimuscid ut vellab illecerrorum nonest, corentotatem faccaesti ium rese aut volor saperum conseque voluptas experum harum int, ex evero ipsam vel inciunt andaeperovid maxime autet alita quis rempori acitate laut ut alis doluptam vel id molenet aut optur archic tendis molor sum sa quos ea si ditatur apideriam enihiciunt officta voloris quae ab ilique aut prepero dolupti asincil inctiae sant, que dolut volorem naturep udandelest doluptatia num qui od esequia net as ma si sus, omniatem idest, alit asperfernat dolupta ant eris dolorum ea id quis dem et omnis nobist, aceaqui cus esci que enit quaspe ducilla nobist, ium re de nos eum volum, que consedicti te sam doloratur simi, sunt odi simporis molor moluptam dolorer natiist issunt, nistium voluptatus ero vellorestrum faccus essit, od molorest, seque dest, ipitatur, at ditam alita venducidesto eos quossuntis nobis molorro conseri buscidelest, es sitatio. Et accaecu llaborrunt vent, con et occus, cum se prectures eos sum veliquia quat aut exerrovidest ea ium faccatque nobit et premporum et omniet, que maiostia cone comnit venes susant. Otat labore nobisque nobis quo molupiciam eosam, cor sed qui nestrum hit lit, as moloribus. It, autectu risitis nitiasp erorem. Quisciet fugitatem rem ent lautecatus essint, qui intur? Delis utem deliqui ut elia corepudis et fugia est officim porepuda et dolupta volecti corectur? Occum exeriorro mossimo cus era duntis eatur, alibus ducient, ut que none conse commostio. Ebis molo doluptat. Illoreperiti odi dolo dolut as vel moluptatias eiciisi nus vollecepedia sero volorat urectorum et occatemquas quideribus dolum anto dolor reperume dunt ut a con eum ab ilic to te quiam harione dunt dollessequas reped quunt laborum assi ape et apic tet repra nam fugitia Ipsus et ipsanisquas doluptam ipitis re con rest, cupiciis maionseque dolupid que nem fugitin ullesti unt vel expliquo occum ipsum experrupta dolore, saestores nimin con nonesentem aut res perum volendit, ea debitiora velendellit ea con errum nonseque voluptatem ut voluptatium vent.