architect middle east 2013-04
TRANSCRIPT
NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC
APRIL 2013 / VOLUME 07 / ISSUE 04An ITP Business Publication
SAFEHAVENDiscovering the calm environment and Arabic inspired details of the Dubai Foundation for Women and Children, designed by U+A Architects
p2// FRONTFoster + Partners unveils new airport in Amman, Jordan
CASE STUDYNORR’S SCULPTED
SAUDI OFFICE TOWER
INTERVIEW
Veteran architect Steven Miller
on his move to construction
fi rm Shapoorji Pallonji
/p22
COMMENTARE ARCHITECTS EVER SATISFIED?
p4// PEOPLERNL and Woods Bagot appoint new UAE principals
p14// PROFILEThe life and work of Pritzker Prize winner Toyo Ito
Fagerhult Lighting Group Middle and Far East
Dubai
Light and modern technology in new combination
APRIL | CONTENTS
www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT 1
2FRONT
Top stories in the world of architecture, including
Jordan’s new airport 4
6PROJECTS
A round up of the latest project news from MENA
and the rest of the world12THE BIG PICTUREThe captivating skylight in Foster + Partners’ ME hotel in London14
22INTERVIEWMEA speaks to Steven Miller and colleagues at Shapoorji Pallonji28
SITE VISIT
60CULTUREA snapshot of funky furniture, books and other accessories in the market
40CASE STUDIESBaku’s new icon, Al Khobar offi ces, Foster in London and a cooking school56
Exploring U+A’s new shelter for women and
children in Dubai
THE WORKA detailed reference
section covering all the best projects in the world
PEOPLEKey regional appointments, famous architect news and top quotes
APRIL 2013 VOLUME 7 ISSUE 04
64LAST WORD
Mark McCarthy, education design principal at Perkins Eastman, on school design
PROFILEThe life and work of this
year’s Pritzker Prize winner, Toyo Ito
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1941Year that
Japan’s Toyo Ito was born
(page 14)
FOSTER + PARTNERS’ AIRPORT OPENS IN JORDANStriking roof structure contains a series of modular concrete domes
Queen Alia International Air-port, the new gateway to Amman designed by Foster + Partners, has offi cially opened.
The modular solution allows for future expansion, growing by 6% per annum for the next 25 years, increasing capacity from 3.5 million to 12 million passengers per annum by 2030.
Mouzhan Majidi, chief executive, Foster + Partners, added: “The new terminal building is energy effi cient,
will accommodate phased expan-sion and provides a dynamic symbol for Jordan.”
In response to Amman’s climate, with dramatic swings in tempera-ture, the building is constructed largely from concrete.
The tessellated roof canopy contains a series of shallow concrete domes, which extend to shade the facades. Each dome provided a modular unit for construction.
Domes branch out from the sup-porting columns like the leaves of a
The capacity
can grow by 6%
per annum.
desert palm and daylight fl oods the concourse through split beams at the column junctions.
Echoing the veins of a leaf, a geo-metric pattern based on traditional Islamic forms is applied to each exposed soffi t.
Two piers of departure gates run along both sides of the central building, which contains the main processing areas and shops, lounges and restaurants.
The architect is also designing Kuwait International Airport.
12MESTIMATEDCAPACITY
PER ANNUMBY 2030
TOP STORY
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APRIL | FRONT
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MZ won the Masterplanning Award for its design of The Valley City – Qatar at this year’s MIPIM Ar-chitectural Review Future Project Awards in Cannes, France.
Designed for Qatari real estate company Sak Holding Group, the project was one of around 200 entries to the awards that focus on projects on the drawing board.
The judges said the project stood out as “an unusual proposition for Gulf city-making without recourse to the ubiquitous glass tower”.
The panel also noted: “The analy-sis of how conventional urban forms are the consequence of inheritance
MZ’s Qatar masterplan triumphs in Cannes
SOM designs twin towers for Emaar
WEIRD PROJECT OF THE MONTH
DESIGNMENA.COM
DATASTREAM
A sky bridge links the two towers.
and sub division provides the basis for an intriguing alternative.”
Located on a 3 million m2 desert plot, the Valley City is intended as a settlement for middle-income expatriates and Qatari citizens, developed using Chaos Theory as a foundation and mathematical tool.
Emaar Properties has revealed its plans for The Address Residence Sky View in Downtown Dubai, a 50-storey twin tower complex designed by SOM.
A sky bridge podium linking the tower towers will contain a restau-rant, ballroom, infi nity pool and an amenity deck.
Emaar has once again teamed up with the architect behind its 828m-high show-stopper Burj Khalifa.
The towers will contain a new 180-bed business hotel, as well as 532 residences and serviced apart-ments which will link directly to Dubai Mall and the metro system.
d i t i
Chaos Theory was an inspiration.
This month’s top stories from the online home of Middle East Architect• MZ Architects wins MIPIM award for
Qatar masterplan• Toyo Ito wins 2013 Pritzker Prize• HOK’s Flame Towers near completion• Woods Bagot appoints new principal for
Dubai offi ce• Dubai to receive mandatory green
building rules
Vincent Callebaut, a Belgian architect known for creating urban eco-visions, has designed a project entitled ‘Asian Cairns’ for Shenzhen, China, which looks like giant pebbles stuck together.
MOST EXPENSIVE BUILDINGSData: Emporis/ World Record Academy
10MBudget, in
AED, for U&A’s Dubai clinic (page 28)
150MHeight of
Norr Group’s Al Khobar offi ce tower (page 44)
1. PALACE OF THEPARLIAMENT, BUCHAREST$4 BILLION2. PALAZZO, LAS VEGAS$1.9 BILLION3. TAIPEI 101, TAIWAN$1.8 BILLION4.BURJ KHALIFA, DUBAI $1.8 BILLION
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The Abu Dhabi offi ce of design fi rm RNL has appointed Jess Alexander as associate principal, a specialist in sustainable urban design and master planning.
Alexander’s focus has been on design and project management on a variety of new cities, communities and develop-ments, many of them located in the UAE and Middle East.
His experience includes the design and documentation of a 500-acre LEED-Neighbourhood Development pilot project for the US Green Building Council.
Alexander coordinates and implement-ing strategies on a number of RNL’s mas-ter planning projects, as well as managing several schemes in the MENA region.
The Denver-based fi rm also promoted Brad Buchanan, leader of the commercial market, and Andrew Irvine, leader of the urban design market, to the company’s board of directors.
In addition to its offi ces in Denver and Abu Dhabi, RNL is present in Los Angeles, Phoenix, Washington DC and Singapore.
PEOPLE
RNL promotes Abu Dhabi architect
New Dubai principal at Woods Bagot
KSA developers and owners should look more closely into building more aff ordably-priced units, especially as the Kingdom’s low- and middle-income population is rapidly expanding.”MOHAMAD RABIH ITANI, vice president, marking, Injaz
Research conducted in Scotland and South Africa has proven that thatched roofs and
timber pergolas are the most sensible and envi-ronmentally friendly roof-ing and shading struc-tures available today.”ANDRE VAN HEERDEN, managing partner, Cape
Reed Group Of Companies
Jess Alexander is now associate principal.
Diff erent styles of management can lead to someone who is a good project manager on one job but not another.”STEVE LAW, director of project management, Sweett Group
60 SECOND INTERVIEWRIZWAN SAJAN, FOUNDER AND CHAIRMAN OF DANUBE
What are the latest trends in fl ooring in the Middle East?The trend is moving from traditional brick designs to modern herringbone or fi sh bone patterns, diagonal fl oor-ing and picture frame wood fl ooring. Also, a combination of colours and wood species gives a rich look.
What is your most popular fl ooring in the region?One of the most popular is laminated HDF fl oors as they off er ample design options at economic prices. Engineered fl ooring is also another pre-ferred option for the UAE, as these fl oors are well manufac-tured to eliminate the natural expansion and contraction ef-fect on the wood in the given climatic conditions.
Julie Knight has been appointed principal.
Julie Knight has recently been appointed principal at the Dubai offi ce of Woods Bagot, having spent over 15 years working throughout the Middle East.
Knight leads the Workplace Sector in the Dubai studio and is also a senior consultant member in the Workplace Consulting team.
After studying architecture in Austra-lia, Knight relocated to New York where she worked for many years in a leading workplace design fi rm whose clients in-cluded the world’s top multinationals.
Since relocating to the Middle East, she has continued to prove herself in the areas of workplace interior design and project management. She has played an integral role in the major consulting and interior design project for Qatar Petroleum in Doha, said to be the largest workplace project in the world.
Her 15 years of professional experience in the Middle East has enabled her to de-velop a deep understanding of the cultural and business climate of the region.
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3DUBAIFlower tower on show at UAE design showA residential tower with plants built into its façades and balconies was unveiled at the Outdoor Design Build & Supply Show, which took place in Dubai in March. The ‘Flower Tower’ is the creation of French architect Edouard Francois, and is designed to be an extension of surrounding parks, blending gardens with concrete and glass. The novel concept was presented by Italian company Teracre.
1
MENA PROJECT SNAPSHOT
2 3
1ABU DHABIConstruction to start on Mushrif Central ParkThe redevelopment of Mushrif Central Park will start shortly, with completion set for early 2015. Developed by Al Ain Properties, the project will transform the existing park, currently only open to women and children, into a space for the community. Dubbed the ‘people’s park’ it will include a children’s gar-den, performing arts venue, botanic garden and shade house, an evening garden and a petting zoo.
2TURKEYWork begins on Istanbul’s fi nancial centreConstruction has started on the US$2.6bn Istanbul International Financial Centre, masterplanned by HOK, which is being built on a 70ha site on the city’s Asian side. The IIFC will house offi ces for the country’s fi nancial market govern-ing bodies, banks, and other related businesses. It will include ap-proximately 4.2 million m2 of offi ce, residential, retail, conference, hotel and park space.
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ADEC SCHOOLS, AL AIN & ABU DHABI, UAE
UNITED SQUARE, ABU DHABI, UNITED ARAB EMIRATES
AL KARKH DEVELOPMENT, BAGHDAD, IRAQ
BASRA CULTURAL PALACE, BASRA, IRAQ
ARAC HOTEL, AL KHOBAR, SAUDI ARABIA AKH TOWER, DAMMAM, SAUDI ARABIA PHOENIX TOWER, DUBAI, UNITED ARAB EMIRATES
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3
2
3ABU DHABIStride Treglown wins two Reem island academiesStride Treglown has been appointed by Advanced Education Services, LLC to deliver two academies in the centre of the new Najmat commu-nity on Reem Island in Abu Dhabi. Najmat Al-Reem Arabic Academy (pictured) and Najmat Al-Reem International Academy will house 2,000 students each and are due to open in September 2014. A signa-ture framed canopy sails over the focal elevation of each academy.
2QATARHolland’s OMA to master-plan Airport City in Doha Dutch studio OMA has been chosen to masterplan a business and resi-dential development linking Doha with the new Hamad International Airport. ‘Airport City’ is a 1,000ha masterplan with four districts along a “green spine” running parallel with the airport’s runways. This spine connects the business and logistics district with the aviation district, while a residential area sits next to the new Doha Bay Marina.
1DUBAIDEWA’s LEED Platinum building opensDEWA has opened the largest gov-ernment building in the world to se-cure a LEED Platinum rating. Green features reduce energy consumption by 66% and water by 48%. Abullah Obaidullah, EVP of Water and Civil at DEWA, said: “The new building, which occupies 340,000 square feet is part of our ‘Green Buildings’ ini-tiative to achieve the highest levels of effi ciency in the consumption of electricity and water.”
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1DENMARK Work starts on energy plant with built-in ski slopeDanish fi rm BIG celebrated the start of construction on its audacious waste to energy plant which doubles as a ski slope, outside Copenhagen. Located in an industrial area near the city centre, the roof of the plant will contain a ski slope of varying skill levels for the citizens in the capital. The project is the largest environmental initiative in Denmark and replaces the outdated Amager-forbraending plant.
1
GLOBAL PROJECT SNAPSHOT
2 3
2SWEDENHenning Larsen and Buro Happold win R&D centreA team containing Henning Larsen Architects and Buro Happold has won a competition for the world’s largest facility for neutron-based research in Lund, Sweden. The campus contains a 180m-long hall in which protons are fi red at a target, sending neutrons to a number of halls with measuring instruments. Research at ESS is expected to commence in 2019, while the entire facility will be completed by 2025.
3UKUNStudio unveils fi rst project in United KingdomAmsterdam-based UNStudio has unveiled a 30-storey residential block called Canaletto, on London’s City Road, the fi rm’s fi rst ever UK project. The tower features a curving façade of metal and glass that breaks into a series of three to fi ve storey clusters, conceived as individual neighbourhoods. Canaletto provides 190 apartments, a health club, swim-ming pool, private cinema, restau-rant and a members’ club.
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THE BIG PICTURETHE LIGHT FANTASTICCaptured by photographer Nigel Young, this image depicts the beguiling skylight in Foster + Part-ners’ newly opened ME Hotel in London. The lobby is housed within a nine storey-high pyramidal space, clad entirely in white marble.
PROFILE | TOYO ITO
14 MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
Tama Art University Library (Hachiōji campus), 2004—2007, Hachioji-shi, Tokyo, Japan.
Dome in Odate, 1993—1997, Odate-shi, Akita, Japan.
Yatsushiro Municipal Museum, 1988 —1991, Yatsushiro-shi,
Kumamoto, Japan.
Serpentine Gallery Pavilion, 2002, London, UK.
TOYO ITO | PROFILE
15www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
any famous architects, such as Richard Meier, Frank Gehry and Zaha Hadid are beloved for their signature styles that are instantly recognisable. Others, including Japanese architect Toyo Ito, are admired for their purposeful rejection of a house style.
Upon receiving the 2013 Pritzker Prize, the 71-year-old designer remarked: “I will never fi x my architectural style and never be satisfi ed with my works.”
Ito’s self-critical and humble approach to design was one of his key qualities, according to the Pritzker jury. “For nearly 40 years, Toyo Ito has pursued excellence. His work has remained static and has never been predictable,” said Glenn Murcutt, Australian architect and Pritzker Laureate 2002.
Fellow juror, Chinese architect Yung Ho Chang, added: “Al-though Mr Ito has built a great number of buildings in his career, in my view, he has been working on one project all along — to push the boundaries of architecture. And to achieve that goal, he is not
A look at the life and work of 2013 Pritzker Prize-winner, Japanese architect Toyo Ito
BOUNDARYPUSHER
PROFILE
M
Toyo Ito Museum of Architecture, 2006—2011, Imabari-shi, Japan.
PROFILE | TOYO ITO
16 MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
afraid of letting go what he has accom-plished before.”
Toyo Ito was born on June 1, 1941 in Seoul, Korea to Japanese parents. In 1943, Ito, his mother, and his two elder sisters moved back to Japan. Two years later, Ito’s father returned to Japan, and they all lived in his hometown of Shi-mosuwa-machi in Nagano Prefecture. After the death of Ito’s father in 1953, the rest of family operated a factory that manufactured miso (bean paste).
In his youth, Ito admits to not having a great interest in architecture, rather a strong passion for baseball. This changed when he attended an under-graduate diploma design course at the University of Tokyo, subsequently winning the university’s top prize for a design project.
Ito began working in the fi rm of Kiyonori Kikutake & Associates after he graduated in 1965. By 1971, he was ready to start his own studio in Tokyo, and named it Urban Robot (Urbot), changing the name to Toyo Ito & As-sociates, Architects in 1979.
One of Ito’s fi rst projects in 1971 was a home, in a suburb of Tokyo, called Alu-minum House. As the name suggests, the structure consisted of a wooden frame completely covered in aluminum. Most of his early works were residences, including the 1976 house ‘White U’ for his sister, greatly admired for its strik-ing form, but demolished in 1997.
In the 80s, Ito adopted a minimalist approach, developing a lightness in-spired by air and wind. He cites the Sen-dai Mediatheque, completed in 2001 in Sendai City, Miyagi, Japan, as one of the high points of his career. Functioning as a library and art gallery, the building is a simple structure, consisting of fl at concrete slabs, honeycomb steel plates with concrete, penetrated by 13 tubes.
More recently, Ito created a building in the fashionable Omote-sando area of Tokyo for TOD’S, an Italian shoe and handbag com-pany, in which trees provided a source of inspiration. The higher up the building, the thinner and more numerous the branches become, with a higher ratio of openings. Similarly, the building unfolds as interior spaces with various ambiances which relate to the various intended uses.
“In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes — why a building is made and for whom — have been forgotten.
After designing critically-acclaimed buildings such as Sendai Mediatheque, Ito became an architect of international impor-tance during the early-2000s, which led to project commissions throughout Asia, Europe, North America and South America. He designed the Main Stadium for the 2009 World Games in Kaoh-siung and the under-construction Taichung Metropolitan Opera House, both in Taiwan.
In Europe, Ito and his practice renovated the façade of the Suites Avenue Apartments with striking stainless steel waves
TOYO ITO | PROFILE
17www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
and designed the temporary Serpentine Pavilion Gallery in London’s Hyde Park in an annual showcase commissioned to a superstar architect. The pavilion, completed in 2002, was described by The Guardian’s Jonathan Glancey as “one of the most exquisite and revolutionary buildings of recent times”.
Other projects he worked on during this period include the White O residence in Marbella, Chile, and the never-built University of California, Berkeley Art Museum/Pacifi c Film Archive in California.
Back in his home country, the earthquake and tsunami of March 2011 spurred Ito and a group of other Japanese archi-tects to develop the concept of “Home-for-All” communal space for survivors.
In the book Toyo Ito — Forces of Nature published by Princ-eton Architectural Press, he remarked: “What we see here are very origins of architecture, the minimal shaping of com-munal spaces. An architect is someone who can make such spaces for meagre meals show a little more humanity, make them a little more beautiful, a little more comfortable.”
He added: “In the modern period, architecture has been rated highest for its originality. As a result, the most primal themes — why a building is made and for whom — have been forgotten. A disaster zone, where everything is lost off ers the opportunity for us to take a fresh look, from the ground up, at what architecture really is.
“Home-for-all may consist of small buildings, but it calls to the fore the vital question of what form architecture should take in the modern era — even calling into question the most primal themes, the very meaning of architecture.”
Ito’s portfolio and signifi cance can also be seen in the mu-seum of architecture that bears his name on the small island of Omishima in the Seto Inland Sea. Also designed by Ito, the museum opened in 2011 and showcases his past projects as well as serving as a workshop for young architects.
Two buildings are located in the complex — the main build-ing Steel Hut and the nearby Silver Hut, a recreation of the architect’s former home in Tokyo from 1984.
Prior to winning the Pritzker Prize, Ito scooped The Royal Institute of British Architects’ Royal Gold Medal and the 22nd Praemium Imperiale in 2010.
Ito becomes the sixth Japanese architect to receive a Pritzker, the fi rst fi ve being the late Kenzo Tange in 1987, Fumihiko Maki in 1993, Tadao Ando in 1995, and the team of Kazuyo Sejima and Ryue Nishizawa in 2010.
The wealth of design quality that has emerged from the East Asian country is typifi ed by Ito’s modus operandi, where building projects are viewed as a “challenge” rather than a chance for an ego-driven tour-de-force.
“When one building is completed, I become painfully aware of my own inadequacy, and it turns into energy to challenge the next project. Probably this process must keep repeating itself in the future,” he remarked, after winning the biggest prize in architecture.
Chest of Drawers in Acrylux
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
COMMENT | EDITOR’S LETTER
18
Whenever I go on a site visit, it’s common for the architect to point out a detail that bugs them, such as a window not
lining up or a skirting board that protrudes too much.”
EDITOR’S LETTER
FEELING GOODIs it possible for architects to be satisfi ed with their work?
GOT A
COMMENT?
If you have any
comments to
make on this
month’s issue,
please e-mail
oliver.
ephgrave
@itp.com
Perfection? Toyo Ito’s Serpentine Gallery pavilion in London.
This month’s big news in the architecture world was the announcement of the annual Pritzker
Prize, which went to Toyo Ito, a 71-year-old Japanese architect.
Remarkably, Ito was the sixth Pritzker laureate from Japan, which shows the strength of design stemming from the Asian country.
Despite being praised for his impeccable and inventive portfo-lio, Ito was not in the mood to pat himself on the back and bask in the glory of his accomplishment.
Instead, he remarked: “I will never fi x my architectural style and never be satisfi ed with my works.” Similar words were uttered by
Norman Foster during a talk in Abu Dhabi last November, alongside Frank Gehry and Jean Nouvel. Fos-ter said: “Architects are...anti social, because they are so consumed by the process of design. I fi nd that I am never satisfi ed. I always want to have another go. In our practice we are always redesigning up to the last possible minute.”
This got me thinking. Is it pre-requisite for every top architect to be an extreme perfectionist that is never satisfi ed?
You can certainly see a quest for perfectionism, or at least complete control, in the works of many great architects. The likes of Frank Lloyd Wright, Le Corbusier, Mies van der
Rohe would, in many cases, design every detail down to the furniture, rather than let anyone else tamper with their visions.
This perfectionism, of course, is not just limited to famous archi-tects. Whenever I go on a site visit, it’s very common for the architect to point out a minor detail that bugs them, such as a window not lining up or a skirting board that pro-trudes too much.
Needless to say, perfectionism can make the diff erence between something good and something great. And it extends to any creative discipline, not just architecture.
But surely it is possible to create something fantastic and feel proud of it? Surely architects are able to let go of the tiny fl aws, that most people probably won’t even notice, and feel a sense of achievement?
I can imagine that each archi-tect is diff erent, and the degree of perfectionism will depend on the individual’s personality and level of involvement in the design. Perhaps for architects such as Ito and Foster, it’s impossible to be profes-sionally fulfi lled, despite all their success and plaudits.
Not being a practicing architect, I am unable to answer these ques-tions. I’d be interested to hear the thoughts of Middle East Architect readers. Do you feel a sense of satisfaction when a great project is completed, or are you unable to sleep if the skirting boards are a couple of millimetres too thick?
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At the close of the fi rst quarter of 2013, we can cast an eye over the architectural develop-
ment of the Emirates.It appears as though the cranes are
once again moving in Dubai and Abu Dhabi. The reasoning for this, how-ever, varies between the two emirates.
In Dubai, while a few new mega projects have been announced for the near future, the intention is to com-plete all buildings that were halted in the peak of the fi nancial crisis.
In Abu Dhabi it is a diff erent story. Since the funds for the Cultural District on Saadiyat Island have been released, Abu Dhabi is witnessing the rise of two diff erent types of giants.
Aside from the buildings of the Cultural District, we are seeing
In Abu Dhabi, the focus is on the governmental versus the cultural mega developments. Both of them demonstrate
power, strength and wealth but follow diff erent concepts.”
OPINION
gigantic governmental complexes, designed to demonstrate the power and the strength of the state, and the traditional architecture of the region.
For example, we have the Louvre, Guggenheim, the Maritime and the Sheikh Zayed National museums on one side and the Emirates Palace and the Presidential Palace under construction on the Ras Al Akhdar peninsula on the other.
Abu Dhabi is a centre for making and remaking. The revitalisation of buildings in the vicinity of Old Air-port Road, the shaping of the skyline along the Corniche, the expansion of the industrial zones and Zayed Port, as well as the construction of religious buildings are changing the face of Abu Dhabi from day to day.But there is more than that which is
important for generations to come; something that confi rms once again that architecture is a demonstra-tion of the era and place in which buildings were constructed, even at a time when construction technol-ogy building materials are applicable anywhere in the world.
The focus, in this regard, is on the governmental versus the cultural mega developments. Both of them demonstrate power, strength and wealth but follow diff erent concepts.
The cultural buildings are designed to create an asset for the world; their designs are sculptural, inspired by the eight-cornered star, the wind-towers or the dunes of the desert.
Meanwhile, the intention to embed traditional architectural features in the governmental buildings reaches a diff erent level. What is seen on the façade of the Emirates Palace Hotel and the Presidential Palace located adjacent to the hotel, and on projects in the making, is diff erent from the inherited government buildings. In the past they were confi ned to forts. Today they are the face of a coun-try experiencing great economic prosperity. In a way, the Emirates Palace sets new standards for local traditional architecture by expanding the notion of traditional design with the introduction of modern concepts.
These developments demonstrate the time and the current prosperity of Abu Dhabi and the entire UAE. They will become the traditional archi-tecture of the Emirates, laying the foundations for future generations to recognise their roots.
The UAE is in the process of building spectacular vernacular
RISING GIANTS
The Louvre Abu Dhabi by Jean Nouvel.
COMMENT | GEORGINA CHAKAR
Georgina
Chakar is an
Australian
architect and
a Master of
Urban Planning.
She works in
Abu Dhabi
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INTERVIEW | SHAPOORJI PALLONJI
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SHAPOORJI PALLONJI | INTERVIEW
itting in the palatial board room at his offi ce in Dubai Airport Freezone, Steven Miller is clearly revelling in his new role. The veteran architect and familiar face to MEA readers has recently turned to the other side of the table, having been recruited by Indian construction giant Shapoorji Pallonji.
From the get-go, Miller is keen to explain the latest chapter to his life story.
The ever-eff ervescent American remarks: “When I was doing architecture, you had to kill yourself for a US$3-4m fee and here you do the same amount of work for hundreds of millions of dol-lars. I’ve found out in four months that one is no more diffi cult than the other.
“To me the strongest part of this whole company is being in busi-ness for 148 years. It’s been in the region for 40 years. Financially we are very, very strong. We are privately owned by a very wealthy family. Even the oldest member of the family — who is fi nally someone who is older than me — takes a tremendous interest in it. The company has never defaulted on anything and it has never been in litigation.”
Miller, the vice president of business development, is joined in the room by Chandrakant Patel, deputy general manager of design and business development, and Biju Oommachan, head of design. Patel, who like Miller was previously an architect, adds: “I spent my life the other side of the table. But it’s nice working for a contractor on a diff erent role.”
Shapoorji Pallonji Group now boasts over 23,000 employees with a group turnover of US$2.5bn. The expertise of Miller and Patel are being exploited to advance the company’s design and build off ering.
Oommachan explains: “Lately we decided to set up a design centre, because we are moving in that direction of design and build jobs in international markets — outside India. In India, we have
a separate design and build division, so we are setting up a design centre in Dubai that will cater to all the other international desti-nations. In a nascent stage, we are very small at the moment.”
He continues: “We will have architects, structures, MEP, technicians to support teams. Having said that, we may not get into designing the buildings as such because we don’t want to get into the design indemnity.
“We will have to go for an architect of record, therefore in each diff erent country we may engage an architect and get the design done by them. We have nowhere near what it takes to be a design build fi rm, we are aware of that, but we are aiming at it.”
When asked how many employees are needed, Miller replies: “It depends on the amount of work we get. I did a matrix, and took eight projects that we have been negotiating for.
“If those eight projects happen, then seven of them would require 50 people. One would be so big it could be a life of its own and could have 20 people by itself. That’s because it’s multiple buildings on a university campus.”
Regarding the benefi ts of design and build, Miller remarks: “People say, ‘why design and build?’ The added value is time sav-ings. There’s nothing else. You are going to pay for the architect one way or another. Also you don’t have to wait for a full set of drawings and wait for somebody like us to take two months to price it out and give a guaranteed price.
“We’re off ering open book pricing from day one . We set the square metres when we start, then we’ll tighten it. When we get a set of schematic designs or development drawings, depending on the type of project, if you want we’ll stay open book in which we are only interested in getting overhead and fees, or we’ll lock a price, and you’ll pay a lump sum.
“You have a choice, by the time the architect has done his con-cept, you would have known you would be over-budget. They are going to lose months redrawing.”
Indian construction giant Shapoorji Pallonji has recently recruited veteran architect Steven Miller. MEA meets Miller and his colleagues to learn about the company’s design and build offering
TOGETHERINTERVIEW
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BETTER
23www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
INTERVIEW | SHAPOORJI PALLONJI
24 MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
Miller explains key targets for the company in the Middle East are the “monster markets” of KSA, Qatar and Iraq. He says: “We’re really energised by Iraq — we have one project which is three diff erent buildings — shopping centre, villas and hotel — under construction in Basra. There’s also six initiatives in Kurdistan.
“Unfortunately in the ministerial level of Iraq they still don’t un-derstand pricing. You say the lowest price and they say ‘no, go and build it for half of that’. So nothing gets built. Show me one new real hospital in Iraq. They’ve got the money but they don’t understand what a hospital costs. In this part of the world, it’s $720-900,000 a bed, depending on the equipment. But we do believe the Iraq mar-ket is really big, they are looking for housing and the hotel market is endless. We are bidding on a hotel.
“In Saudi we are very busy — we used to have as many as 3,000 employees out there, and now we need more. Saudi’s biggest prob-lem for contractors is getting visas for your workers. They want 30% Saudis. Show me one Saudi who is going to go out in 50°C weather and work. So it’s very hard.”
Regarding the company’s operations in Qatar, Miller remarks: “We are quite busy there. We have about 1,700 people in Doha.”
He reveals that the upcoming stadium programme is on the radar for the com-pany. “We are expecting to be invited to do the stadiums. Fortunately or unfortu-nately, they think of Indian contractors doing cricket stadiums, but no one will think of us doing soccer stadiums.
“But we’ve spoken to Swedish, Span-ish, Italian and Greek construction com-panies that do PM services because FIFA will see the European names. When we tie in, we’re there. None of these fi rms have a full contingent and licensing in Qatar. You have to plan these things now. Remember these stadiums are $600-900m each. We’re thinking, because it is already two years behind schedule, they might be design-build as well.”
Miller adds that the company is eyeing up the contracts for building the metro stations in Doha, as well as two “very large” medical projects.
Outside the Middle East and India, the fi rm is highly active in West Africa. Oommachan explains: “Shapoorji Pal-lonji always knew that certain countries in West Africa will develop in the future, and good political conditions in that
region has strengthened that view. These countries [in West Af-rica] require housing, hospitals, hotels and as a company we have experience in those areas.”
This region is the perfect place to utilise the company’s design and build philosophy, according to Oommachan. He continues: “What happens is that all these projects are wanted urgently by the clients. As Steven says, to save them time, the only thing that makes it possible is design and build.
“Design and construction goes hand in hand. That is where the design team is required — we don’t wait for a set of drawings to be supplied by the consultant. Of course there will be architects of record taken on board.”
Miller adds that the scale of the company’s projects has sur-prised him. “We built 70,000 housing units in Calcutta and we are pushing for thousand like this in Sri Lanka, Algeria, Ghana, etc.
“It’s a very interesting breadth that I’m seeing which as an architect I’d never see. Why hire an architect of my background to design tunnelform high rises in a place that’s as big as a town? While I’m adding some expertise, I’m also seeing things I’ve never seen before, which is rather interesting,” Miller concludes.
People say, ‘why design and build?’ The added value is time savings. There’s nothing else. You are going to pay for the architect one way or another.”
Biju Oommachan, head of design; Steven Miller, vice president of business development; Chandrakant Patel, deputy general
manager of design and business development.
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INTERVIEW | SHAPOORJI PALLONJI
26 MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
MARRIOTT HOTEL,ABU DHABIThe 315-room Abu Dhabi
Marriott will be part of the
Bloom Central development
on Airport Road.
HILTON HOTEL, RIYADHThis striking project for hotel
giant Hilton features a dis-
tinctive tubular form.
PARK TOWERS, DUBAIDubai’s ‘double gherkin’ by
developer Damac is now a
highlight of the emirate’s
famed skyline.
PORTFOLIO:SHAPOORJI PALLONJI
SHAPOORJI PALLONJI | INTERVIEW
27www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT
“The real alternative to exotic hardwoods”
UAE OFFICEFax: +9714 3408636
Come and visit us at our Grand Showroom -
“WORLD OF FLOORING”For complete display of Natural Wood and Composite Flooring - @ The Curve Building, Showroom 12, Sheikh Zayed Road, Al Quoz 3, Dubai.
BARWA GRANDMOSQUE, DOHAThe Grand Mosque in
Barwa City, Qatar, is being
built by Shapoorji Pallonji.
The mosque forms part of
Barwa City, a development
comprising around 6,000
apartments in 128 buildings,
spread across 1.35 million m2
SHATT AL ARABHOTEL, BASRAThis hotel being built by
Shapoorji Pallonji is situ-
ated by the Shatt Al Arab
river near Basra in Iraq. Iraq
was described by Steven
Miller as one of the three
‘monster markets’ in the
Middle East.
28
SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
Oliver Ephgrave visits Dubai Foundation for Women and Children,
a serene shelter with contemporary Arabic infl uences, designed
by U+A Architects
HAVENSAFE
28
SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
Oliver Ephgrave visits DubaiFoundation for Women and Children,
a serene shelter with contemporaryArabic infl uences, designed
by U+A Architects
2929
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com
SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
30
Dubai and Toronto based U+A Architects was hired to design an extension to an existing building on the site, bringing the total area up from around 400m2 to 1,0002.
Martin Dufresne, partner, U+A, explains: “We needed to create something that was new but joined with the old section, rather than de-stroying it. It’s a bit diffi cult dealing with a 20-year-old building that is vernacular but not spectacular.”
The project was due for its soft opening at the end of March, and was in the fi nal snagging stage at the time of MEA’s visit, teeming with representatives from the cli-ent, contractor and the architect.
A six-strong team from U+A was responsible for the design, as well as the MEP and structures, while the construction was undertaken
The complex
features a
mixture of
materials and
volumes.
n a region fi lled with grandiose schemes and cloud-piercing struc-tures, it’s not often that Middle East Architect visits a small-scale project, let alone one that is spread across a single fl oor. Functioning as a non-profi t shelter for
abused women and children, the U+A Architects’ designed scheme near Dubai’s Dragonmart is an intimate and serene haven which seems a million miles from the bustle of the city.
Dubai Foundation for Women and Children was established in July 2007 to off er victims immedi-ate protection and support services in accordance with international human rights obligations.
by Al Sahel Contracting. Construc-tion started in April 2012, with design commencing six months prior to that.
Dufresne leads the tour party to the entrance for clients, which is notable for its elegant wooden sloped ceiling and marble fl oor. He continues: “As this is a haven for women and children that are distressed, we wanted to cre-ate something calm and serene, bringing in as much daylighting as possible. Before it was very clinical, so we went in a homey direction. In the individual rooms we’ve used green carpets and calm colours for the walls, and we’ve used as much natural materials as possible. The wood warms it up.
“It contains lots of openings and we’re bringing in as much of
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com32
SITE VISIT | DUBAI FOUNDATION FOR WOMEN AND CHILDREN
the outside in as possible. The land-scape design will be very green and everywhere you turn there is an interesting outlook.”
U+A partner Pedram Rad adds: “It’s meant to be a happy place and the building is designed as an embracing gesture in plan. The transparency was important, as was creating a nice environment where the managers can sit out.”
The building contains client con-sultation and observation rooms on one side and administrative offi ces on the other, separated by an impressive central courtyard.
Dufresne remarks: “The court-yard is the centrepiece. It contains shading screens which makes the area more soft and zen-like. The materials include teak and limestone.”
Rad continues: “The shading is very important — we designed the courtyard to respect the climate, with not too much glass.
“It is reminiscent of the region’s traditional architecture, like Bastakiya. The courtyard will eventually contain landscaping and act as a green layer in between the two sections.”
“It’s important not to have much visual connection between the two sides. Each offi ce contains a window. I would love to work in an offi ce like this,” says Dufresne.
According to the client, each room will contain one member of staff , with 20 case managers for therapy, as well as higher manag-ers. The clinical area contains rooms with one-way mirrors and observation rooms.
A grand corridor which con-nects the offi ces is notable for a ceiling with curved gypsum panels and skylights on one side, resem-bling a periscope. The east-facing windows allow the morning light to fi lter through.
The most transparent inter-nal space is the centrally-placed
The impressive central courtyard.
We tried to keep the quality but within the budget, as it’s not a fi ve-star hotel. I think we achieved that. Ma-terial selection was a big challenge.”Pedram Rad, U+A
DUBAI FOUNDATION FOR WOMEN AND CHILDREN | SITE VISIT
www.designmena.com | 04.13 | MIDDLE EAST ARCHITECT 33
conference area, located just off the courtyard. Rad explains that this room is a ‘prestige’ space. “Many important people will visit the Dubai Foundation periodically, such as the royal family, the UN and the police.”
Dufresne adds: “The teak fl oor-ing in this room has very wide planks, with a little edge to them — it makes a big diff erence. So many fl oors are fl at. I’m obsessed with every detail. The contractor did a good job on the fi nishing. There’s still a bit of snagging to do.”
Pointing at the skirting, he remarks: “I wanted it to be fl ush with the wall, and had to fi ght for it. I hate it when it looks attached to the wall.”
Further down the corridor a pantry is used as a point of gather-ing. The wall contains bright purple panels, a corporate colour of Dubai Foundation.
Rad explains that Dubai Foundation is working on several other projects, within a masterplan designed by U+A. He continues: “It’s a huge compound. The next building to do is an offi ce; it is ten-dering next week. They are doing it building by building when they are getting the budget. There are so many other things.”
Rad reveals that the budget for the shelter was $2.73m (approx
AED10m). He adds: “We tried to keep the quality but
within the budget, as it’s not a fi ve-star hotel. I think we achieved that. Mate-rial selection was
a big challenge and they were sourced as
locally as possible. Every-thing is natural but it had to
meet the budget.”When it comes to the issue of
cooling the building, Dufresne comments: “There are several drafts through the building and
Aluminium columns support the shading.
it’s very airy. The screens fi lter the light to reduce heat gain and the mechanical systems bring that to sustainable levels.”
He adds that a LEED certifi -cation was not requested by the client. The tour moves outside to examine the various façades. The west facing façade contains a mashrabiya-esque screen which protrudes from the main skin to shield the offi ces. “There’s an irregularity to the timber, which I think is nice. It responds to the sun angle and the thing to remember is that people working here will leave at 3pm. Originally the screen was going to be lower but I thought it would be too claustrophobic,” explains Dufresne.
He continues: “Instead of using traditional mashrabiyas we have made it more contemporary. I worked in South-East Asia where people experiment with interest-ing ways to fi lter the light. Here, if you present a screen, people will automatically say: ‘I have to see out of my window’. But it is just a fi lter. I’m quite pleased how it turned out.
“Once there is vegetation the whole form will connect with the ground. The gap between the screen and the façade is 900cm. We had an issue with the wind, so we set it back more.”
The façade contains two variet-ies of orange-brown wood as well as two types of stone, which are pale and black. “I don’t mind a variety of colours so long as it’s not a rain-bow,” adds Dufresne.
The back façade, which is cur-rently tucked away from through-traffi c, off ers the best vantage point to view the diff erent volumes that run through the building — includ-ing the courtyard and the corridor with skylights.
Rad points out that the lower layer of black stone is intended to make the building appear as if it is fl oating. He also draws attention
1,000METRES2AREA OF THE SHELTER
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com36
The teak fl ooring in this room has very wide planks, with a little edge to them — it makes a big diff erence. So many fl oors are fl at. I'm obsessed with every detail.”Martin Dufresne, U+A
SITE VISIT
to the extension to the windows so that they match with the timber.
The building’s most visible fa-çade, on the opposite side, contains aluminium posts supporting a shading screen that acts as a visual extension of the courtyard. The façade is raised on a plinth of trav-ertine to “make it more special” according to Dufresne.
With its plinth, intimate scale and simple, clean planes, the building vaguely recalls the seminal Barcelona Pavilion by Ludwig Mies van der Rohe. When asked if this is a fair comparison, Dufresne replies: “Oh yeah. With any contem-porary architecture, the Barcelona Pavilion would be the main infl uence.”
As an afterthought, he adds: “I would change a few details but not much. I’m quite demanding.”
The architect’s demands cer-tainly seem worthwhile, as U+A’s fastidious approach and attention to detail has lifted the project far above the ordinary.
The shading protrudes from the facade.
Teak was the chosen wood.
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com40
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THE PROJECT The construction of Baku’s strik-
ing complex of three mixed-use high rises, the Flame Towers, is now complete with interior fi t out well underway. HOK has undertaken masterplanning, concept and sche-matic design, with DiA Holdings as design and build contractor and Azinko MMC as engineer.
A residential tower sits to the south, with 130 residential apart-ments over 39 fl oors, and is the tallest of the three towers.
The Fairmont Baku hotel, situ-ated on the northern corner of the site, consists of 318 guest rooms, whilst the western-most tower pro-vides 33,114m2 of grade A fl exible offi ce space.
FLAME TOWERSArchitect: HOKLocation: Baku, Azerbaijan
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THE SITE Located on a hill overlook-
ing Baku, with views extending across the Caspian Sea, the three towers sweep dramati-cally upwards to form a striking silhouette on the city’s skyline. The project was originally sketched on a single sheet of paper, evoking the momentary fl icker of a fl ame. At the base, a number of smaller, discreet structures form the retail and leisure pavilions, which mediate between the towers’ scale and their surroundings. The pavilion contains three levels of leisure facilities, including boutique shops, restaurants and a cinema.
33,114METRES2
AREA OFOFFICE SPACE
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THE CONCEPT Known as the ‘region of eternal
fi res’, Azerbaijan’s history of fi re worship and ongoing connection with natural gas provided the in-spiration for HOK’s design. Barry Hughes, vice president, HOK in London, said: “Our aim from the outset was to create a unique focal
THE DETAILS Flame Towers was designed and
conceived using BIM, enabling the team to refi ne the unusual
shape of the buildings. BIM was also critical in en-
abling the development to be built, giving the team the ability to model
the construction process before work began on site.
This was said to provide a crucial advantage for constructing
a large-scale project in a seismic region such as Baku. The original concept model was conceived in Revit Architecture 2008.
318KEYS IN THE
FAIRMONT HOTEL
point on Baku’s skyline. The fl ame is such an intrinsic part of region’s identity, but translating this into the design was a real challenge. We were keen to ensure a sense of movement, the idea of momentary fl icker, so it was important that the shape of the towers was realistic.”
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com44
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ALKHOBAR OFFICE TOWERArchitect: Norr Group ConsultantsLocation: Al Khobar, Saudi Arabia
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THE SITE Located on a prime ocean-front
site in Al Khobar, the east and west facing envelope is faceted to allow inhabitants unobstructed views to the water (east) and to the city (west) while mitigating solar gain. Jan continued: “The building reaches 150m in height - this is the limit according to civil avia-tion, and the client wanted to maximise the height. There is no other high rise in the area.”
Intentionally restrained, the design features clean lines, simple massing and minimalist detailing of stone and glass.
15,500METRES2
TOTAL LEASABLEAREA
THE PROJECT Designed by Norr Group Con-
sultants, this 150m high tower in Saudi Arabia features 20 fl oors and 15,500m2 of column-free Class A offi ce space suspended between split concrete cores. Norr’s vice president and design director, Yahya Jan, commented: “The client wanted a diff erent type of offi ce tower. It is an open and highly fl exible space due to the absence of a central core.” He added: “The core shouldn’t be an obstruction. In the offi ce space there is not a column to be found, even on the perimeter. The frame is the vertical structure and we use this to hang the fl oors.”
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The design is said to be ‘additive’ and consists of a formal assembly of diff erent components. These in-clude a ‘frame’; offi ce fl oors; an en-trance lobby; a parking structure; a health club and leisure garden, and a roof garden.
The frame is a stone clad con-crete core, containing eleva-tors, stairs, washrooms and MEP, and is the primary gravity load bearing structure. The entrance lobby is a ceremonial glass cube with landscaping and water elements.
THE DETAILS Energy modelling eQuest soft-
ware was used to test the effi ciency of a ‘split-core’ tower over a typical central core model. The chosen concept off ers a 20% annual reduc-tion in solar gain through the exte-rior envelope and a 9% reduction in annual consumption.
In terms the building envelope, the design results in an average 32% reduction in peak load for any given month. Additional energy savings are expected through the use of solar panels on the health club and tower roofs, which will help reach the target of LEED Gold.
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MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com48
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ME HOTELArchitect: Foster + PartnersLocation: London
THE PROJECT Now open in the heart of Lon-
don’s West End, the ME Hotel has been designed by Foster + Partners, from the shell of the building to the bathroom fi ttings. It combines a new 157-bed hotel with the restored 1904 Marconi House, refurbished to contain 87 apartments. Guests pass through the ground fl oor lounge, public restaurants and bar, and ascend to a dedicated hotel lobby on the fi rst fl oor. The lobby is housed within a nine-storey high pyramidal space, clad entirely in white marble.
154 TOTAL NUMBER
OF BEDS
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THE SITE The new hotel building occupies
a triangular site and completes the grand sweep of buildings that make up the Aldwych Crescent. Repairing the urban grain, it is clad in Portland stone, corresponding in height and scale to its neighbour, the Marconi House.
An elliptical tower on the corner of the hotel defi nes the end-point for the Aldwych Crescent and marks the main entrance at street level, which is sheltered beneath a wide glass fan. The corner tower is topped by a glass cupola, and contains the living space for the penthouse suite.
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Giles Robinson, partner at Foster + Partners, said: “By designing the hotel inside and out, down to the last detail, we were able to maintain a high level of quality and continu-ity. Inside, the bold black and white interior palette establishes a strong identity.” The experience at the hotel draws on the Asian concept of yin and yang, as guests move from dark to light spaces — the crisp white bedrooms, with clean and minimal lines, are reached by refl ective black marble corridors, and sculpted by the angled walls of the central pyramid.
THE DETAILS The glazing of triangular bays in
the rooms feature an invisible joint, while ensuring acoustic and ther-mal insulation. Internally the win-dows can be screened by two layers of opaque glass sliding panels, rather than curtains, in keeping with the minimal design. Full-height triangular bay windows project to reveal long views of the Strand. On the tenth fl oor, the hotel’s rooftop terraces are an urban oasis off ering spectacular views of the Westminster skyline.
1904 COMPLETION OF MARCONI HOUSE
FOR FURTHER INFORMATIONTeri Clarke, Sales Manager, Tel: +971 4 444 3679, Email: [email protected]
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CASE STUDY
CATERING SCHOOLArchitect: Sol 89Location: Medina Sidonia, Spain
THE PROJECT The unanimous winner of the 11th
Tile of Spain awards in Architec-ture and Interior Design, this proj-ect involves the conversion of a 19th century Spanish slaughterhouse into a professional cooking school. Designed by Maria Gonzalez
Garcia and Juanjo Lopez de la Cruz, both of architectural
practice Sol 89, it was described by the jury as a project that was “acutely aware of its
surroundings, [which] has been resolved with
very modest means, yet very delicately and very successfully”.
11,900 POPULATIONOF MEDINA
SIDONIA
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THE SITE The scheme is located in Medina
Sidonia, a historic town located on the hills in Cadiz, Spain, most notable for its whitewashed walls and ceramic roofs.
The small slaughterhouse is arranged around a courtyard and a high white wall.
A new ceramic roof was added to unify the complex, and harmonise with the traditional architecture of the surroundings. The new roof covers the kitchen and classrooms, while the public programme, din-ing area and bar are situated in the original building around the restored courtyard.
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The original building is removed of strict functional requirements while ancillary uses are arranged
around it. New uses of the original building are separated
through circulation spaces that span the entire
perimeter. Contact between the original building and the new oc-curs through a slit of light.
Modern additions to the old building have been removed while elements with historic value, such as the Phoenician columns, have been retained.
THE DETAILS The courtyards work as ventila-
tion shafts and contain plants used for cooking. The sloping roofs distinguish the diff erent spaces; circulation areas have fl at and low roofs while cooking rooms and classrooms benefi t from high ceilings with skylights. Ceilings are fi nished with white surfaces that unify the space. Old fl oors in the original building were replaced with slabs of concrete with wooden formwork that recall traditional building forms. Walls are covered with white and rough lime mortar which give an industrial feel.
11 YEARS OF OPERATION
FOR THE TILE OF SPAIN AWARDS
w w w . c o n s t r u c t i o n w e e k o n l i n e . c o m / m e a a
SETTING THE BENCHMARK FOR THEMIDDLE EAST ARCHITECTURE SECTOR
THE 6TH ANNUAL MIDDLE EAST ARCHITECT AWARDS BRINGS TOGETHER THE ARCHITECTURE, DESIGN AND ENGINEERING COMMUNITIES TO CELEBRATE INDUSTRY
EXCELLENCE THROUGHOUT THE MIDDLE EAST.
Tuesday5th November 2013
Jumeirah Emirates TowersDubai - UAE
For sponsorship enquiries, please contact:Alexander JamesSales Manager, Middle East ArchitectTel: +971 4 444 3393Email: [email protected]
For nomination enquiries, please contact:Oliver EphgraveEditorTel: +971 4 444 3303Email: [email protected]
For table bookings, please contact:Michelle MeyrickEvents ManagerTel: +971 4 444 3328Email: [email protected]
Do not miss your chance to put forward your work for our expert panel of judges’ consideration. Submit your nominations today at www.designmena.com/meaa or contact one of our team for more information.
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NOMINATIONS NOW OPEN
CATEGORY SPONSOR
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THEWORKPROJECT UPDATE
Foster + Partners has completed its fi rst project in Latin America with the Faena Aleph Residences in Buenos Aires, Argentina — a nine-storey resi-dential complex on Avenida Juana Manso. It comprises 50 apartments, animated at ground level by a fringe of shops, cafés and restaurants, with a landscaped garden to the rear and an infi nity pool at roof level. Apartments are characterised by vaulted ceilings and expressive sunscreens.
THE ALEPH
Architect: Foster + PartnersLocation: Buenos Aires, Argentina
Last year Dewan was awarded the contract to design the new Cultural Centre by the Basra Governorate in Iraq, after the recent establishment of Dewan’s Basra branch offi ce. The Basra Cultural Centre will contain fi ne arts exhibition areas, meeting rooms, conference halls, a heritage museum, cinema halls, theatre, a radio and television broadcasting department, public library, cafeteria, outdoor landscaping and green areas.
BASRA CULTURAL CENTRE
Architect: DewanLocation: Basra, Iraq
50 APARTMENTS
IN THE COMPLEX
BAHRAIN NATIONAL THEATRE
Architect: AS. Architecture-Studio Detailed design: AtkinsLocation: Manama, Bahrain
Bahrain’s fi rst national theatre con-tains a 1,001-seat auditorium and a 150-seat fl exible auditorium and ex-hibition area. The expansive glazing involved an innovative curtain wall system fully supported by glass. With overall control of the entire project, Paris-based AS. Architecture Studio appointed Atkins in 2009 to collabo-rate on detailed architectural design, including the total external envelope, along with site-wide supervision.
800KGWEIGHT OF EACH
GLASS FIN
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This ambitious ‘experiment’ for Qatar involves the construction and operation of a super energy-effi cient house, which adopts the Germany-developed ‘Passivhaus’ concept. It also requires the construction of a conventional villa to serve as a tangible point of comparison, and the basis for a number of targets for the eco-villa. The scheme is a collaboration between Kahramaa, QGBC, BRE, and Aecom.
QATAR PASSIVHAUS
Architect: AecomLocation: Qatar
Highly commended in the Resi-dential category at the 2012 MEA Awards, the austere apartment block was designed by local ar-chitect Farshad Mehdizadeh and Raha Ashrafi . Mehdizadeh is also supervising the project, still under construction. It uses local architec-ture elements such as cantilevers, but adds new design techniques. The façade made from local materi-als suits the dusty conditions.
ABADAN APARTMENT
Designers: Farshad Mehdizadeh & Raha Ashrafi Location: Abadan, Iran
200METRES2
SIZE OF BOTHVILLA PROJECTS
PARK HYATT ABU DHABI
Architect: Perkins EastmanLocation: Abu Dhabi
The fi rst hotel project completed on Abu Dhabi’s Saadiyat Island, as well as the fi rst Park Hyatt-branded prop-erty in the UAE capital, the Park Hy-att Abu Dhabi Hotel & Villas opened its doors to guests last year. Designed by Perkins Eastman, the 306-key 45,000m2 resort is oriented towards the sea, with private villas that line a boardwalk and private beach. The energy-effi cient design meets LEED Certifi ed standards.
306NUMBER OF ROOMS
AND SUITES
Sponsored by the National Industrial and Mining Company (SNIM), the fi ve-star hotel project is intended to be an oasis of rest within the heart of Nouakchott. The main building is swathed in greenery and vegetation. Land-scaped grounds link a central reception building to living and rec-reational areas, including a spa and pool. Part of the connecting area was designed as a public gallery.
SNIM HOTEL
Architect: Draw Link GroupLocation: Nouakchott, Mauritania
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Designed by Iranian architect Farshad Mehdizadeh, this fast food store occupies 7m2 on an Isfahan street. The project was highly commended in the Public Sector, Institutional and Cultural Project category at the MEA Awards in 2012. Judge Bart Leclercq, WSP, said: “This must be the smallest architectural project ever but the amount of diligence that went into the design is remarkable.”
CIRCLESNACK BAR
Architect: Farshad Mehdizadeh Location: Isfahan,Iran
This skyscraper is inspired by sikkas, the narrow alleys between buildings in old Middle East cities. Designed by Alexandre Carrasco and Omelmominin Wadidy, Mas-ters in Sustainable Tall Buildings Course, Department of Architec-ture and Built Environment, Uni-versity of Nottingham, it has eight stacked communities, with a library and retail facilities at ground level, and a space for prayer at the apex.
SIKKASIN THE SKY
Designers: Alexandre Carrasco and Omelmominin Wadidy, University of NottinghamLocation:Abu Dhabi
This four-level home consists of a main residence with a garden, pool, gym, and private terrace. Origi-nally conceived as a single-family home, MOP House can be split into two separate properties for future use. The project uses dark brown, natural sandstone and white plaster in the building’s façade to diff eren-tiate between the diff erent levels. Bamboo is used generously in the interior, built into curved walls.
MOP HOUSE
Designer:AGi ArchitectsLocation: Kuwait City 750
METRES2 AREA OF PLOT
Designed by Henning Larsen, this impressive museum is located in the Arts Campus at Umeå University in northern Sweden. It comprises three exhibition halls placed on top of each other. The ground plan of the museum covers 500m2, while the total gross fl oor area amounts to 3,500m2. The new museum more than doubles the exhibition area. It contains an auditorium, children’s workshops and administration.
UMEÅ ART MUSEUM
Architect: Henning Larsen Architects Location: Umeå, Sweden
3,500METRES2
GROSS FLOORAREA
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LIKEWANTNEEDCULTURE
FURNISHINGSMINISICULE
Fritz Hansen
The name ‘minuscule’ represents the informal and understated style, which
typifi es Scandinavian design. Minuscule has a simple and elegant design that
emerged as the result of a series of experimental workshops involving
designer Cecilie Manz and Fritz Hansen. The seat shell features hand-stitched
upholstery in a light-weight yet durable textile with elegant leather detailing that
follows the contours of the shell. The curve of the shell is kept in place by a
frame designed in plastic.
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ELEVATORKONE DESIGN COLLECTION
KONE
The KONE Design Collection is a versatile set of elevator car interiors created by the manufacturer’s in-house design team. Users can choose
a complete interior from one of six design themes, or create their own design by mixing and matching a wide range of materials, colours, fi nishes
and lighting. The six themes are Modern Simplicity, Cool Vintage, Industrial Chic, Classic Chic, Nouveau Glamour and New Luxury.
MIDDLE EAST ARCHITECT | 04.13 | www.designmena.com62
LIGHTINGFLASH DQ
LUG Light Factory Ltd.
LUG Light Factory Ltd is a well-known European manufacturer, present on the market for more than 20 years, with roots in Poland. It off ers high quality energy effi cient lighting systems, both for indoor and outdoor lighting
applications. Since the beginning of 2012, LUG has been present in the United Arab Emirates, in the Ajman Free Zone. Last year, it presented its new brand of decorative lighting called FLASH DQ, available in tubular,
sphere and constellation models. The lighting company has illuminated prestigious projects in many countries, including the Central Bank of Kuwait, Galway University in Ireland and the Philharmonic hall in Rzeszow, Poland.
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LAST WORD | MARK McCARTHY
64
Mark McCarthy, education design principal at Perkins Eastman, on the region’s requirements
THE LAST WORD
SCHOOL’S IN
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We are seeing an increasing interest in, and dedication to, investing in education in the Middle East and North Africa.
Particularly primary and secondary education, both in terms of facilities and philosophies.
Tradition remains extremely important. But it is not incompatible with a 21st century, progressive educational model.
The welcome challenge for international fi rms like ours is to balance respect for tradition and heritage with the energy and spirit of the more progressive educational models taking
root in places like Qatar and Saudi Arabia.
We are designing for the 21st century student, for a global citizenry.I think educational institutions in this region are becoming increasingly aware that
their infrastructure is inadequate vis a vis their goals — in cultural terms, in terms of being responsive to the regional climate, and in its ability to educate students to meet the
challenges of the increasingly global market.
Higher education has been the focal point already for years, and we are now seeing the same ideas take off for primary and secondary education.
Clients, both American schools abroad and regional Middle East schools, look to us to help them build the “right” buildings that will truly support their educational vision and goals.
Our fi rm is working in several countries in the Middle East and North Africa.Most recently, we have just completed a new middle school and library for Cairo
American College, a prestigious international school with a great tradition of serving expat and local communities.
A true community of students and their families, it functions as a veritable home away from home.
It’s a demonstration of the future of primary and secondary education in the region.