me architect - dec 2009
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ME Architect - Dec 2009 - ITP BusinessTRANSCRIPT
An ITP Business Publication
DECEMBER 2009 | VOLUME 3 | ISSUE 12DECEMBER 2009 | VOLUME 3 | ISSUE 12
An ITP Business Publication
NEW
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, AN
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HITEC
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2009 | VO
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n ITP Business Publication
NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC
A LIGHT RAININTERVIEW Stride Treglown’s Richard Philipson & Nathan Hones CASE STUDY Mishascape unveils its signature design
for Dubai Quill CASE STUDY Perkins Eastmann’s Al Maktoum A&E Hospital CASE STUDY ZHA on Rome’s MAXXI museum
Jean Nouvel’s lighting concept is guiding the design for the Louvre Abu Dhabi
Reacting to the outdoor climate to create indoor harmony:the bioclimatic façades challenge
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001 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
CONTENTS DECEMBER
December 2009 ISSUE 12 VOLUME 314
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WHAT’S ON THE WEB MEA keeps you in touch with the latest news from the industry with a synopsis of Construction Week online
INDUSTRY HIGHLIGHTS A roundup of some of the industry’s biggest stories and product launches from December
INTERVIEW: STRIDE TREGLOWNOperations director Richard Philipson and UAE GM Nathan Hones go on the record with Jeff Roberts CASE STUDY: DUBAI QUILLNew firm Mishascape unveils the designs for its Quill and, in doing so, creates a new mythology
CASE STUDY: MAKTOUM A&E HOSPITALPE principal Nadia Tobia deconstructs the design for Jebel Ali’s newest accident & emergency centre
INTERVIEW: BOB KNOTT Jumeirah Golf Estates’ senior development manger of golf courses talks about taming the elements
INTERNATIONAL CASE STUDY: MAXXI Zaha Hadid’s newest project, Rome’s Museum of 21st Century Art, breaks down and decodes walls BATTLE: PARLIAMENT BUILDINGS Miralles’ Scottish Parliament Building goes head to head with Foster’s famous Reichstag cupola
LAST WORD: CITYBUILD ABU DHABI Graham Wood talks to MEA about how Citybuild differs from Cityscape and why architects need to be there
40
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ONLINE
003 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
COLUMNS & FEATURES
HH SHEIKH HAMDAN OPENS BIG 5
HURRICANE DAMEIn Beirut to celebrate the Middle East launch of one of her latest cre-ations, Patricia Urquiola spoke to Selina Denman about practical prod-ucts – and why having a design style is just plain ‘stupid’.
FREEDOM OF CHOICEThe many benefi ts of Free Zones cannot be ignored but, with the possibility of a new ownership law coming into place, will construc-tion companies decide to take their business elsewhere?
the online home of:
IN PICTURES
For more columns & features, go to: www.constructionweekonline.com/comments
For more galleries, check out: www.constructionweekonline.com/in_pictures/
• Alessa signs US $200 million JV with Huntair• Kiwi timber floats AD’s boat• Dubai World restructuring• Deal sought on Dubai World, Nakheel debts • Key points while entering into a joint venture
• Mott MacDonald to oversee island infrastructure • Dubai construction receives professional mediation • Saleh to build Dubailand Marriott• Big 5 2009 ‘beyond all expectations’• Freedom of choice
63.2% It’s worrying; we’ll have to see what happens next.
26.3% It’s not great but DW & Nakheel have a lot of support.
10.5% It’s just a request; there’s no real cause for concern.
To vote in spot polls, go to:www.constructionweekonline.com
For breaking news, go to:www.constructionweekonline.com/news/Stories selected November 24-30, 2009
5 MOST POPULAR
EDITOR’S CHOICE
Stories selected November 24-30, 2009
POLL: Thoughts on DW asking for a ‘standstill’?
PODS ARE THE FU-TURE OF BIG BUILDSOpting for pods makes construction on a project cheaper, requires less labour, produces a higher quality and reduces build times, said Unipods sales and marketing director Mike Usher.
A LONG WAY TO GOThe results of the Con-struction Week salary survey are out, shedding a lot of light on the inner workings of the construc-tion industry. Some pretty amazing trends are revealed, along with some alarming facts.
Kicking off with the offi cial opening by HH Sheikh Hamdan bin Rashid Al Maktoum, Deputy Ruler of Dubai and
Minister of Finance and Industry, the exhibition saw a number of high profi le deals announced, including a JV be-
tween KSA’s Alessa Group and US industrial conditioners manufacturer Huntair Inc worth US $200mn.
EDITOR’SLETTER
004 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
I almost titled this editor’s letter ‘A little less conversation, a little more action’, because as I see it, for the last few months, there has been a lot of lip service about the construction industry in the Gulf. Whether it was Cityscape Dubai or Big 5 or Index or the ubiquitous Proleads reports singing the praises of the region’s construction industry, people have been touting the strength of the market for months. I even contributed to the industry-wide love-fest by writing editor’s letters about the ‘post-Ramadan push’ and the bevy of burgeoning building projects. Luckily, my fi rst idea didn’t fi t in the title box.
In light of the latest news from the Dubai World/Nakheel camps—which, at the time of writing, is still largely speculation—I sat pondering how best to convey those poignant Elvis Presley lyrics, but then I paused. Perhaps that’s not fair. Perhaps it’s both unfair and short-sighted to con-demn the building industry in Dubai based on speculation and hearsay.
The European and US pundits wax intellectual on chat shows and in newspapers about how Dubai is fi nished and how it’ll soon become a modern ghost town, complete with dusty saloons and tumbleweed. They sit casting stones in what has become one big global glass house.
Are major developers in the region in debt? Probably. Are major developers in the US and Europe in debt? Very much so. Has the building industry in the Middle East slowed down? Yes, but the pace of building in the GCC is still light years ahead of the grinding halt to which the same industries in the West have come. Have architects, facilities managers, developers and design professionals had to tighten their collective belts to do more with less in the Middle East building market? Absolutely. Using the same metaphor, I wouldn’t be surprised if those same professionals in the West have traded in their belts, trousers, socks and shoes for the proverbial cardboard box.
My point is this: The trend in the Middle East’s building industry sug-gests the status quo is both solid and steady. Those I’ve spoken to in the industry don’t anticipate massive growth, but they’re also unconvinced that we’ll witness the bottom falling out of anything. The reason Western criticism has turned to Dubai in recent months is because throughout Europe and North America, the bottom has already fallen out and they’re beginning the slow and tedious process of rebuilding. When you’re a little guy—a ‘non-player’ if you will—it’s easy to take pot shots at those near the top because frankly, no one takes you seriously.
Those same critics hailed Sheikh Mohammed as a visionary and Dubai as a modern miracle for more than a decade. And, sure enough, now that Dubai has shown a glimpse of mortality, the vultures are circling. To the vultures, my only advice is this: No one has forgotten that your economies have crumbled and that your long legacies lay in ruins. Put your own house in order before training your sights on this one because, at the mo-ment, you are non-players and no one is taking you seriously.
THROWING STONES
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An ITP Business Publication
DECEMBER 2009 | VOLUME 3 | ISSUE 12
An ITP Business Publication
NEW
S, DATA
, AN
ALYSIS A
ND
STRATEGIC
INSIG
HTS FO
R ARC
HITEC
TS IN TH
E GC
C
DE
CE
MB
ER
2009 | VO
LU
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3 | ISSUE
12
An ITP Business Publication
NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC
A LIGHT RAININTERVIEW Stride Treglown’s Richard Phillipson & Nathan Hones CASE STUDY Mishascape unveils its signature design
for Dubai Quill CASE STUDY Perkins Eastmann’s Al Maktoum A&E Hospital CASE STUDY ZHA on Rome’s MAXXI museum
Jean Nouvel’s lighting concept is guiding the design for the Louvre Abu Dhabi
Cover image: Jean Nouvel with Sheikh Sultan bin Tahnoon Al Nahyan, Chairman, TDIC Cover Design: Lucy McMurray/ITP
Jeff Roberts, Group Editor
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007
INDUSTRY HIGHLIGHTS
MIDDLE EAST // The Council
on Tall Buildings and Urban
Habitat (CTBUH)—the inter-
national body that arbitrates
on tall building height and
determines titles includ-
ing “The World’s Tallest
Building”—has announced a
change to its height crite-
ria, as a refl ection of recent
developments with several
super-tall buildings.
The new criteria wording:
“Height is measured from
the level of the lowest, sig-
nifi cant, open-air, pedestrian
entrance to…” allows for the
recognition of the increas-
ing numbers of multi-use
tall buildings with often
several different entrances at
different levels, whilst also
accommodating buildings
constructed in urban or
suburban locations.
This will have an impact
on both the height of tall
buildings and their relative
international height rank-
ings. Burj Dubai, set to open
as the world’s tallest building
in January 2010, will now be
measured from the lowest
of its three main entrances
(which opens into the en-
trance lobby for the tower’s
corporate suite offi ces).
“Beginning in 2007, with
the knowledge that Burj
BURJ DUBAI GROWS TALLER AFTER CTBUH CHANGES
Dubai would be signifi cantly
taller than any structure
ever built, the CTBUH
Height Committee met to
review the criteria by which
we recognize and rank the
height of buildings,” said
Peter Weismantle, Chair of
the CTBUH Height Commit-
tee and Director of Supertall
Building Technology at
Adrian Smith + Gordon Gill
Architecture in Chicago.
“The resulting revisions
almost two years later refl ect
a general consensus of the
committee in recognizing
the most recent trends in
tall building development
around the world,” contin-
ued Weismantle.
Because of the policy
change, the recently com-
pleted Trump International
Hotel & Towers in Chicago
will be measured from the
publicly accessible Chicago
Riverwalk, which adds an ad-
ditional 27 feet. The addition
means that Trump offi cially
surpasses the Jin Mao Tower
in Shanghai to occupy the
rank of 6th tallest on the list
of completed buildings.
Also in response to the
changing designs and forms
of tall buildings, the Height
Committee has elected to
discard its previous “Height
Dubai’s Burj Dubai just got taller
to Roof” category. “The
roof category just doesn’t
make sense anymore,” said
CTBUH executive director
Antony Wood. “In the era
of the fl at-topped modernist
tower, a clearly defi ned roof
could usually be identifi ed,
but in today’s tall building
world—which is increas-
ingly adopting elaborate
forms, spires, parapets and
other features at the top of
the building—it is becoming
diffi cult to determine a ‘roof’
at all.”
The revised CTBUH
Height Criteria are as fol-
lows: (i) Height to Architec-
tural Top, measured to the
topmost architectural feature
of the building including
spires, but not including
antennae, signage, fl ag
poles or other functional-
technical equipment; (ii)
Height to Highest Occupied
Floor, measured to the level
of the highest, consistently
occupied fl oor in the build-
ing (not including service
or mechanical areas which
experience occasional
maintenance access); and
(iii) Height to Tip, measured
to the highest point of the
building, irrespective of
material or function of the
highest element.
INDUSTRY HIGHLIGHTS
ABU DHABI, UAE // At a recep-
tion at the British Embassy
in Abu Dhabi, RIBA—via
sponsorship from Geberit,
global player in sanitary
technology—launched its
new Gulf Chapter, which
aims to support architecture,
architects and design profes-
sionals in the GCC.
With no other architecture
institute in the Middle East,
RIBA Gulf will represent
and engage locally-based
architects and design profes-
sionals through education,
Continuing Professional De-
velopment (CPD), network-
ing opportunities, lectures
and other activities.
“The launch of our Gulf
Chapter highlights the
signifi cance of our members’
presence in the Gulf States
and will enable us to provide
further local support,” said
Ruth Reed, president of
RIBA, at the launch event.
“The Chapter will also be
working to engage further
with the diversity of non-
member architects working
in the region and to promote
best practice in architectural
education by working closely
with local universities.”
RIBA Gulf is open to all
members in the region, as
well as professionals working
across Saudi Arabia, the UAE
and other GCC states.
“The whole business of ar-
chitecture is far more global
now, and UK architects in
particular are more global,”
said Richard Brindley, RIBA
executive director of profes-
sional services.”
RIBA LAUNCHES GULF CHAPTER
RIBA President, Ruth Reed
www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
008 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
INDUSTRYHIGHLIGHTS
Jean Nouvel has spent almost every waking minute with Mattias Schuler and Schuler’s light sensor
009 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
INDUSTRY HIGHLIGHTS
ABU DHABI, UAE // Saadiyat
Island recently played host to
Sheikh Sultan bin Tahnoon
Al Nahyan, chairman of
TDIC, Pritzker Prize-winner
Jean Nouvel, support staff
from Ateliers Jean Nouvel,
directors from Buro Happold
and Agence France-Muse-
ums and climate engineers
TransSolar at the future site
of Louvre Abu Dhabi.
The collection of distin-
guished offi cials, architects
and engineers were on site
to conduct lighting tests to
determine the precise way
in which beams of light will
fi lter through the building’s
signature perforated alumin-
ium dome. “The dome is the
largest architectural element
in the project and we want to
test both its functionality and
manageability,” explained
Felix Reinberg, project direc-
tor of the Cultural District
for TDIC.
To that end, a six-metre
prototype of the dome has
been installed on Saadiyat
Island for the sole purpose
of testing the play of light
and shadow on the site—or,
the “Rain of Light” concept—
prior to fabrication of the
fi nal structure.
According to Nouvel’s
design statement, the Louvre
Abu Dhabi was designed
as a complex of pavilions,
plazas, alleyways and canals,
evoking the image of a city
fl oating on the sea. “Hover-
ing over the complex will be
a form inspired by tradi-
tional Arabic architecture—a
vast, shallow dome or
cupola—180 metres (590
feet) in diameter—perforated
with interlaced patterns so
that a magical, diffused light
LOUVRE UPDATE: A LIGHT RAIN ON SAADIYAT ISLAND
will fi lter through,” explained
Nouvel. “The cupola will cre-
ate the effect of the light in
the souk, when you play with
different superposition of
different images and enrich
the interiors.”
ENGINEERING THE DOMEWhile the fi nished dome
will undoubtedly convey the
elegance and weightlessness
being sought, as Tim Page,
project engineer and associ-
ate director of Buro Happold
UK explains, the fi nal prod-
uct will belie the complexity
of its realisation.
“What people don’t realise
is that the dome represents a
web of interlaced aluminium
panels, tubes and bars, which
is fi ve and a half metres deep
and 180 metres in diameter,”
explained Page. “To achieve
the design intent, we began
with overlapping rectilinear
patterns or, essentially, the
structural version of a tartan
cloth. We then began to
remove the non-critical pat-
terns to achieve the correct
fi ltering of light.”
To achieve the fi nishing
touches, Page and his team
called upon mathematical
formulae to ensure that ev-
erything was perfect. “Each
layer has been mathemati-
cally matched up with those
above and below it to achieve
an exact size and shape for
each dapple of light. It’s
been a hugely collaborative
effort—especially in terms of
patternization.”
A PROTECTIVE DOMEWhile the UAE enjoys sunny,
dry weather for 90% of the
year (320 days), the risk
of endangering any of the
priceless artworks within the
Louvre galleries was simply
unacceptable. To that end,
Matthias Schuler, adjunct
professor at Harvard Univer-
sity’s Graduate School of De-
sign and managing director
of climate engineering fi rm
TransSolar, has accounted
for everything.
“We began with nine
different dome designs,”
explained Schuler. “[Jean
Nouvel] wanted the feeling
of the connection between
inside and outside.”
For the rare rainy day
in Abu Dhabi, Schuler is
prepared. “The rain will
not affect the museum,” he
explained. “To ensure that
people won’t get wet in the
walking spaces between
the galleries, there will be a
transparent fi lm between the
layers of the dome to ensure
that it does not rain in these
areas. There will also be a
drainage system hidden at
the edge of the dome.”
After stalking back and
forth through the prototype
with light metre in hand,
Schuler also made an impor-
tant discovery. “Initially we
thought the interior walls
should be marble. After test-
ing, we realised that because
of its properties, marble
walls refract an enormous
amount of light onto the
fl oor,” he explained.
He continued: “That
amount of light creates a
refl ection that is harsh on
the eyes and detracts from
the artwork. The walls will be
white, but most likely white
matte. We’ll probably use a
high-density ductile concrete
for the interior walls.”
Not only is Schuler
unfazed by the elements of
sun and rain, but in terms
of accentuating the ‘Rain of
Light’, he actually welcomes
the wind. “We hope to have
wind and dust sometimes.
We didn’t realise it at fi rst
but when the air is dusty,
the beams of light are almost
more powerful,” he said.
A RARE MOMENT WITH JEAN NOUVELWith consultants busy fl itter-
ing and fl uttering throughout
the Saadiyat Island site,
Nouvel was free to wax intel-
lectual about his approach to
architecture and the future of
architecture in the Gulf.
“Every building has its
own DNA,” said Nouvel.
“You have to fi nd the charac-
ter of the building…. Hence,
my buildings are different
each time and more related
to the cultural, economical
and social context…. [For
this site] I wanted to play
with the specifi c conditions
present here. I am an archi-
tect of specifi cs.”
As far as Nouvel is con-
cerned, the architectural
boom witnessed by the Gulf
or the collection of iconic
building on Saadiyat Island
isn’t excessive, it’s progres-
sive. “[This site] is not a
sporting match. It’s not a
competition to see which
building will be the best.”
He continued: “When
the country is at its apogee,
architects always create
buildings that make strong
testaments…. Now, its time
for the Middle East to make
its own testaments; my hope
is that the cultural district of
Saadiyat Island will do that
for the Middle East.
INDUSTRYHIGHLIGHTS
010 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
RIYADH, KSA// The joint venture
between British consultan-
cies Barton Willmore and
Buro Happold has completed
the design for the King Ab-
dullah International Gardens
(KAIG) – a giant botanical
garden commissioned by the
City of Riyadh as a gift to
King Abdullah of Saudi Ara-
bia to celebrate his accession
to the throne.
“While we have extensive
experience in the design and
construction of cutting-edge
projects in the Middle East,”
said Jerry Young, project
principal and partner at
Buro Happold. “The design
of KAIG has been extremely
challenging because nothing
as complex has been built on
this scale and in this kind of
environment before.”
Young continues: “There
has been almost zero rep-
etition during the design
process and the end result
KING ABDULLAH GARDENS GOES TO TENDER, WINS INTERNATIONAL DESIGN AWARD
has been achieved through
a truly multi-disciplinary,
collaborative and innovative
approach.”
Barton Willmore and Buro
Happold won an interna-
tional competition in 2007
to claim the right to design
KAIG. Now, having com-
pleted the design with advi-
sors from the UK’s National
History Museum and Eden
Project, KAIG is to be put out
to tender to contractors.
KAIG’s design, which won
the overall global leisure
category for commercial
property at the International
Property Awards in mid-No-
vember, features a 10-hect-
are building—the equivalent
of 15 football pitches—which
will house the world’s largest
indoor garden.
KAIG will be set within
a 160-hectare site in an
arid desert site within the
KSA central region and, as
a cornerstone of the City of
Riyadh’s growth plans, will
provide a new destination for
KSA nationals and interna-
tional visitors.
Visitors will be able to
walk amongst plants, trees
and fl owers which lived over
400 million years ago, as
well as a range of external
gardens which will include
a maze, butterfl y enclosure
and aviary.
The project’s centrepiece
will be a ‘paleobotanic’ build-
ing formed by two adjoin-
ing crescents that will rise
40 metres in height. The
building’s roof, which will
be the largest ETFE-covered
structure in the world, will
span up to 90 metres. KAIG
will also feature an array of
specialist tensile, pneumatic
and grid shell structures.
KAIG will also showcase
sustainable development
and incorporate renewable
and low energy technologies.
It will employ thermal ice
storage and black and grey
water recycling systems, with
underground reservoirs for
storage and, with the outside
temperature reaching up
to 50°C, this approach will
be vital to the control of the
different historical climates
inside the various gardens.
“KAIG is just one example
of where we are working
closely with a partner to
create a new type of sustain-
able community,” said Nick
Sweet, project director and
partner in charge of urban
design at Barton Willmore’s
London offi ce.
Sweet explained further:
“Indeed, this project epito-
mises our desire to marry
manmade structures with
the natural environment and
produce a broader narrative
about their complex inter-
relationships over time.
The achievement in
pulling together the KAIG
designs is the result of a
monumental joint effort.
Collaboration has been key
in order to integrate all disci-
plines and services to ensure
we stayed true to our original
design concept,”
Barton Willmore provided
masterplanning, architec-
ture and landscape design
services while Buro Happold
pwrovided project manage-
ment services and structural,
building services and infra-
structure engineering design,
as well as a range of special-
ist consultancy services.
The JV team has also been
responsible for the design
of KAIG’s infrastructure
including earthworks, roads,
footpaths, coach and car
parks, an energy centre, sew-
erage treatment systems and
services including electricity,
telecoms, gas and water.
KAIG is an example of architects and engi-neers working together to build sustainable communities
www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
INDUSTRY HIGHLIGHTS
013
ABU DHABI // In conjunction
with last month’s launch of
the RIBA Gulf Chapter, the
results of a RIBA student
competition—‘Urban
Exchange: The Souk’—were
announced at the British
Embassy in Abu Dhabi.
Chaired by Peter Jackson,
Architect Advisor to HH
Ruler’s Offi ce in Sharjah, the
jury included principal judge
Sir Michael Hopkins CBE, Dr
Yasser Elsheshtawy of UAE
University, Dr Adil A. Al-
Mumin of Kuwait University,
George Katodrytis from the
American University of Shar-
jah as well as two observers
from RIBA Competitions.
Students were given the
challenge of exploring new
visions and developing de-
sign proposals for ‘the city’.
The jury set the challenge
of re-addressing the nature
of street culture and its hu-
man activities in an urban
context. Students were asked
to choose a site in an urban
context which they felt was
in need of rejuvenation, and
come up with ideas and con-
cepts representing a modern
interpretation of the souk.
“RIBA Gulf, by virtue of its
stated aims of supporting the
education of young architects
and continuing professional
development of practicing
architects, is a fundamental
way to positively infl uence
the quality of architecture
in this region,” said Simon
Crispe, RIBA Gulf Chapter
RIBA GULF STUDENT COMPETITION SEES FIVE WINNERS
Ambassador and regional
director for Atkins.
Overally, 19 student teams
entered the competition
and the judges were pleased
to see a wide variety of re-
sponses to the architectural
brief. Schemes largely fell
into three broad categories:
urban grain; building spe-
cifi c; the process and generic
issues around the theme.
Although no single winner
emerged from the shortlist—
the jury felt the aims of the
brief hadn’t been fully met—
the judges recognised quality
elements within fi ve schemes
and thus, elected to com-
mend fi ve entrants equally.
“While the entrants might
be disappointed that no
1st, 2nd, or 3rd prizes were
awarded, this was not an
easy competition brief,” ex-
plained jury chairman Peter
Jackson. “Student architects
are generally taught to focus
a great deal on the form and
function of individual build-
ings and, as a result, often
fail to see buildings in rela-
tionship to one another, and
in particular to the spaces we
can create between them.”
Sir Michael Hopkins add-
ed: “The bringing together
of the Schools in the GCC to
think about issues of context,
place and sustainability, in
their related but particular
areas, is a very valuable
exercise, which it would be
worthwhile to repeat…. I’d
very much like to come back
next year to help judge it.”
Regarding the future of
RIBA Gulf and creating
conscientious, eco-friendly
places, Crispe urges a recon-
sideration of the traditional
way of fi nding solutions in
the built environment.
“The focus of the commu-
nication [between architects
and clients] should be on
quality of design, combined
with support and promotion
of quality education of archi-
tects at all levels, ages and
experience to understand
and address global challeng-
es as never before,” explains
Crispe. “The RIBA felt this
was the time to foster those
communications and reach
out to not only its own RIBA
architects in the region but
all architects and students
alike who are practicing and
learning here in the Gulf.”
The RIBA Student Com-
petition was sponsored by
Geberit and commendations
went to the following student
teams: Shruti Gupta (School
of Planning & Architec-
ture, New Delhi); Haitham
Mohammed Al Busafi , Aliya
A Sattar Al Hashim, Ahmed
Abdullah Al Muqbali, Adi
AL Farei (Sultan Qaboos
University, Oman); Nasreen
Al Tamimi (Institute of
Advanced Architecture of
Catalunya, Spain); Esraa Ali
Osman Mohammed, Marwa
Ahmed (UAE University, Al
Ain); Navid Nikpour, Islamic
Azawd University (Dubai).
RIBA President, Ruth Reed with some of the
student entrants
Students were surprised and slightly dismayed at the jury’s decision to commend fi ve teams
Peter Jackson announc-es those commended in the RIBA student competition
The RIBA Gulf launch and student competition took place at the British Embassy in Abu Dhabi
INTERVIEW STRIDE TREGLOWN
014 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
MOUSTACHIOED MAESTROSStride Treglown looks to build facilities in the Middle East that everyone can access
Q&AFLORIS SMITH
In a profession where practicality can
easily give way to pomposity and pre-
tentiousness, Stride Treglown—Abu
Dhabi’s newest kid on the block—seems
a breath of fresh air. Take, for example,
the fact that the entire fi rm, whether in
Abu Dhabi or London, participated in the
well-known tradition of ‘Movember’, the
month-long moustache-growing charity
event created to raise money and aware-
ness for men’s health (specifi cally prostate
cancer and depression).
Observing the tradition, and in honour
of an affl icted colleague, the 280-strong
fi rm set up shop in the UAE capital less
than six months ago and is hoping to bring
a building typology of which the region is
in drastically short supply: well-designed
schools and hospitals.
Despite feeling slightly sheepish about
their new facial hair, London-based
director of operations, Richard Philipson,
and general manager of the UAE offi ce,
Nathan Hones, agreed to give Middle East Architect an hour of their time. And, much
to their chagrin, we took pictures.
Richard, what can you tell me about the Stride Treglown story?RP: Stride Treglown has been around
since 1953. It was founded in Bristol. In
the early 1950s, it was mostly post war,
public work and fairly traditional, com-
mercial architecture. It did a bit in the
health and education sectors. It was a
relatively small provincial practice. For
the next 20-30 years it stayed that way,
until the 1980s. Toward the end of the
80s, Stride Treglown began to grow and
develop further.
To date, what is the fi rm’s core competency or primary skill set? RP: We’re able to provide architectural
services in pretty much every sector. The
business is mostly defi nitely a commercial
practice with its founding in well-designed,
well-considered, buildings that are deliv-
Richard Philipson Nathan Hones
015
INTERVIEWSTRIDE TREGLOWN
015 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
ered on time, buildings that don’t leak and
buildings that give clients what they want.
That is changing a bit now though. I think
Stride Treglown is being recognised for
good, innovative, cutting-edge architec-
ture. In fact, in the UK, we’re about to start
on site with our new offi ce in Cardiff which
will be the fi rst BREEAM ‘Outstanding’
offi ce building in the UK. It achieved 89%,
which is the highest Outstanding score in
the UK as well.
Nathan, as the man on the ground, what is your remit? NH: Well, I joined Stride Treglown
in July 2009 after being in the Middle
East for more than fi ve years. My main
responsibility is to oversee the day-to-day
operations of the fi rm in Abu Dhabi. That
includes: Responding to queries, attending
meetings, turning around presentations,
submissions, eventually authority approv-
als and documentation guidelines. And,
very importantly, working with Richard
to integrate my contacts with those of the
fi rm to create a solid network of clients,
consultants and contractors.
What is the most valuable thing you bring to Stride Treglown?NH: I came to the UAE six years ago and
I was based on site at Dubai Festival City.
As the project architect, I oversaw a team
of architects, engineers, interior designers
and landscape architects. Working on site
you learn very quickly about documenta-
tion and the approvals process. That sort
of thing you can only really learn being
based in the place.
After that, I moved out to another site
at IMPZ. The fi rst time I went out there, I
was with the engineer from Halcrow, who
were doing the roads at the time, and I
asked him to take me to the site. So we got
into his 4X4, and after driving over several
sand dunes quite quickly, he stopped on
one of the taller ones and he pointed off in
the distance to a camel that was walking
between two dunes.
He asked me, ‘Do you see that camel
down there?’ and I nodded my head and
then he said, ‘Well that camel is walking
along the southern boundary of your site’.
So that was my introduction that project. I
helped to establish an architectural site of-
fi ce for about 40 staff—that was everything
from designing and fi tting out the offi ce
interiors to establishing logistics for the
staff to liaising between the established
offi ce and the mobile one.
Q&A FLORIS SMITH
33-49 Victoria Street Build-ing, Bristol, United Kingdom
NATHAN HONES
IN THE UAE, THERE’S LESS OF A NEED FOR HIGH-RISE RESIDENTIAL; THERE’S LESS OF A NEED FOR COMMERCIAL SPACE. THERE IS A REAL NEED FOR WELL-DESIGNED, WELL-CONSIDERED EDUCATION AND HEALTHCARE PROJECTS.
INTERVIEW STRIDE TREGLOWNINTERVIEWSTRIDE TREGLOWN
To answer your question, I bring
fi ve years of on site experience where I
designed and delivered pre- and post-
contract. Stride Treglown was looking for
someone who had been involved in setting
up and organisation from the grass roots
level. From a hardware and logistics per-
spective, Stride’s was starting here from
scratch and what I bring is experience
and contacts in terms of consultants and
government authorities.
Given the global economy, why come over to the UAE? Why now?RP: We do quite a bit of strategic planning
in Stride Treglown. We have a strategy for
growth—not something that is particu-
larly aggressive—but we recognise that we
provide a national service in the UK and I
think we started to consider opportunities
for an international offi ce approximately
three or four years ago.
We’re a Top 20 architect in terms of
turnover and staff numbers, and it seems
all of our competitors are getting a reason-
able portion of their income from work
abroad while we are not. It makes you
think, what could we be doing differently?
From there we began to look at places
where we thought the environment
was right for expansion. Around the time
of Cityscape Dubai 2008, our chairman
and marketing director had a look around
and thought that the UAE might be one of
those places.
At that time, the observation they made
was based on the confi dence and vision
coming out of Abu Dhabi and the 2030
plan. They saw a clear opportunity for any-
one involve in the construction industry
to get involved. But more than that, they
came back with a feeling that Abu Dhabi
was place with a bit of heart and soul and
they really liked that.
Now that it’s here, how will Stride’s distinguish itself?RP: From the beginning, we recognised
the vision of the 2030 plan but we also
knew that Stride Treglown isn’t exactly an
iconic architecture fi rm. We’re not going
to be designing skyscrapers for people. It’s
not our core competence. At the moment,
our expertise is in educational buildings—
right through primary school, secondary
school and on to universities.
And, the same goes for health-
As an architecture student, who or what inspired you? RP: On the way here today, I thought to myself, he’s going to ask me that question and now I’m glad I thought about it. For me, it’s easy, it’s a guy called Aldo Rossi. He was a rationalist architect. I studied at Liverpool University and for our BArch, 19 of us hired a red double-decker bus and drove around Europe. During that time, I saw my first Rossi building, it was the Cemetery of San Cataldo in Modena [Italy]. It was a pivotal moment in my architectural career. It was very evocative, very emotional and that marked the first time that a building affected me that way. At that moment, Aldo Rossi became my guru. NH: My inspiration came from a not dissimilar source. I went to Sydney University and we also took a tour around Europe on two buses and we visited a lot of modernist architecture. We started in Paris and worked our way down to the south of France. We stayed in some of the most amazing examples of architecture; things that had been designed by Le Corbusier, for example. We went to [Notre Dame du Haut] Ronchamp, which is one of my favourite buildings. I heard a service sung by a priest in Ronchamp with the light coming through the windows and it was amazing. If that can’t lift your spirits then nothing can. Most of the stuff we saw on that trip was mind-blowing.
My favourite building is...RP: Rossi’s Cemetery at Modena. NH: One that responds to the place. One of my favourite Australian architects is a guy called Glen Mur-cutt, who often talks about the genius loci of a building or ‘sense of place’. I honestly think a building needs to be of the place.
What three words describe you as a person or as an architect? RP: Friendly. Accessible. Mentor. NH: Organised. Approachable. Innovative.
As an architect or as a person, what is something you love? RP: Open space. NH: My family. The sense of family.
What is something you hate?RP: Lack of order. And, I have to say, moustaches. I’ve just seen myself in the mirror and I look ridiculous.NH: I don’t think I really hate anything. I have some immense dislikes of some things but I’m not sure what I hate. I guess I really dislike when someone is unhappy about something but then they don’t do anything about it. If you’re at a point in your life where something is bugging you to that extent, change it, do something about it. Increase your knowledge base; expand your network; change your environment; do something.
THE MEN BEHIND THE MOUSTACHES
016 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
017 017 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
INTERVIEWSTRIDE TREGLOWN
care facilities. From GP surgeries to
community clinics to specialist units to
hospitals. One thing we recognised when
we got here was that all of that expansion
that is happening throughout the country
requires community-based infrastructure
to support it and provide a level of accom-
modation and facility that will provide the
support the public and providers need.
That’s one of our strengths. We know a
number of our competitors that are here
providing those types of buildings right
now and we feel we can compete with
them on a level playing fi eld. We do in the
UK and we feel that it’s possible here too.
So, for the time being, our business plan
for the future identifi es those two par-
ticular areas of the market place that
we’ll focus on: Education and
healthcare facilities.
Linked into public and community facili-
ties is the real opportunity to demonstrate
a capability in inclusive design. That’s a
real advantage for us. We bring the whole
of our services together in one package
that responds to client needs. That’s where
we think we can compete most effectively.
NH: In addition to that, there was obvi-
ously a need. In the UAE, there’s less of a
need for high-rise residential; there’s less
of a need for commercial space. There is
real need for well-designed, well-consid-
ered education and healthcare
projects. The UAE gov-
ernment has an-
nounced
AED 17 billion over the next year for social
infrastructure. It’s not only something
Stride Treglown has a strength in, it’s
something that has been identifi ed at the
federal level as a necessity in the UAE.
That federal intiative and Stride’s focus in
the UAE meld together perfectly.
RP: There’s a need for those facilities
throughout the MENA
as well. A lot of
place
Windsor Building, Royal Holloway,
University of London
018 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
INTERVIEW STRIDE TREGLOWN
The University of Reading’s Carrington
Building demonstrates Stride Treglown’s core
competency
019
INTERVIEWSTRIDE TREGLOWN
019 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
in the MENA are growing and expanding
and those infrastructure projects need to
be there to support that growth. For us, we
need a foothold and we need to establish
ourselves in one place in order to test our
systems and procedures. Once we’ve done
that, we can analyse them and determine
whether or not changes need to be made
and whether our initial assumptions were
correct. After that, we can look at offering
our services elsewhere in the region.
If we fi nd we need to expand our ser-
vices and competencies, we are prepared
to do that as well. We’ve got a very strong
master planning team in London. If you
get a chance to design a master plan for a
university campus, you’re in right at the
very beginning and there’s also the oppor-
tunity to look at the building blocks that go
along with those types of project as well.
What do you see—or perhaps not see—in the Middle East in terms of inclusive design? RP: Focusing on the positives, I think
there is a recognition that inclusive design
is important. I think there is either lip
service to it, or, and this is probably more
likely, the level of understanding of what
it actually means isn’t very sophisticated.
From our point of view, inclusive design
actually includes everyone throughout
their lives. Most people immediately start
talking about people with physical dis-
abilities because those are the most easily
observed and the solutions are the most
obvious. They’re very straightforward
solutions—despite having been largely
ignored in the West for a long time.
But inclusive design is also about de-
signing for the partially-sighted, the hard-
of-hearing, and its also about mothers
with children in prams or elderly people
using a cane to assist them. It’s also about
people who are colour blind or dyslexic or
have memory issues. It has to include our
society as a whole. We fi nd that as soon as
you begin to recognise architecture can be
improved by inclusive design you produce
better buildings.
That’s where our architecture is going
in the UK, we’re still educating clients
to some extent and a similar thing is
needed here. We’ve talked to people at
Estidama and Abu Dhabi Municipality and
we’ve found that as soon as you mention
inclusive design, there’s a real keen desire
for more knowledge. The authorities are
beginning to recognise a need for inclusive
design, which is very encouraging.
NH: Generally what happens here is that
architecture competitions or proposals
to key clients that are prepared by very
talented, very skilled CGI concept archi-
tects, fail to include some key elements of
inclusive design.
Because the pace of development—as in
most emerging markets—is quite rapid,
people have started piling and started en-
abling works and have only realised after
approaching authorities that they needed
to allow for certain aspects and so they’ve
just been added on.
Regarding sight or hearing impaired
people, no one would normally do audit
tests in reception areas or large foyers to
determine reverberation time or provide
a PA system to explain ways to move
through a building. Because that means
additional service and it means another
person who has to have input in the de-
sign, in the past there hasn’t been enough
time for that design, it has unfortunately
been overlooked.
The benefi t of an economic slowdown—
if there is a ‘benefi t’—is that people have
been able to look back at the ways things
have been done and improve on areas
that have been neglected. I think this is a
unique selling point of Stride Treglown.
It’s been really well-received with the
authorities because they realise it is a
necessity and now we have the time to
include these elements in a more holistic
design. The neglect of inclusive design
really is a product of an emerging market
but, hopefully, that will change now.
Abu Dhabi is Stride Treglown’s fi rst international offi ce, where do you see it in 12-18 months? RP: Well, we’ve got a plan in place. While
everything doesn’t always go according
to plan, if you’ve got a roadmap, at least
you know the direction in which you’re
headed. Stride Treglown, in 12-18 months
time, will be a business of fi ve or six people
on the ground in Abu Dhabi. That team
will be able to respond decisively, work
quickly, make decisions with authority and
also come with the experience of working
in the region already.
Our tripartite model is simple: light-
touch responsive team here; talent and
expertise in the UK; talented, fast, accurate
production information guys in Vietnam.
In 18 months time, hopefully that’s in
place and hopefully we’ve got some big
schools and master planning projects on
the ground working for us and we’re start-
ing to look at Oman, Qatar and elsewhere
in the region. It’s a steady but focused ef-
fort to build on the plan. After six months,
I think we’re on track.
NH: Well, I’ve worked for a few architec-
ture fi rms and none of them have had a
strategic, goal-oriented plan in place like
Stride Treglown. From a micro-level, I’ve
learned all about the strategy and growth
and organisational development. From
a day-to-day perspective, my aims and
aspirations tie in with Stride Treglown’s,
so when Richard talks about growing the
company to fi ve or six people, I need to be
bringing to the table the opportunities that
enable that growth to occur. That means
speaking to clients and government agen-
cies and letting people know we’re here.
I’ve got my own KPIs so that’s refreshing.
It’s measurable; it’s justifi able. Personally,
I know I need to do certain things for the
company to succeed.
RP: We’ve got a budget of just over £1
million to set up our offi ce here. That’s
what we can afford to spend; we’ve had a
good few years. We’ve got the strength to
enable us to invest that. We knew we could
come here and risk that £1 million on the
opportunity, which is potentially beyond
our dreams.
THE OBSERVATION [OUR DIRECTORS] MADE WAS BASED ON THE CONFIDENCE AND VISION COMING OUT OF ABU DHABI AND THE 2030 PLAN.... THEY CAME BACK WITH A FEELING THAT ABU DHABI WAS A PLACE WITH A BIT OF HEART AND SOUL...
RICHARD PHILIPSON
CASE STUDYDUBAI QUILL
020 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com020
CASE STUDYDUBAI QUILL
Dubai Quill was de-signed to pay homage to a new symbol for the city and the UAE
Sky Café (+44) • Main area 125 m²• Lower level area 60m²
Library (+4) • Finite area 215 m²• Escalator lobby area 60 m²
Rose Garden (+1) • Open area 725 m² • Lobby area 195 m²
Auditorium (-2)• Main area 690 m²• Foyer / waiting / reception area 340 m²• Lobby area / restrooms 280 m²
Car park (-5)• Escalator lobby area 170 m²
Total Built up area• 2135 m²
Total Usable area • 2860m²
AREAS
CASE STUDYDUBAI QUILL
021 021 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
THE DUBAI QUILLDubai’s newest fi rm, Mishascape, unveils its signature project and, in the process, introduces new mythology
Created for a competition that called
for a ‘Tall Emblem Structure’ in
Dubai’s Za’abeel Park, Dubai Quill
aims to be an emblematic symbol that rep-
resents the aspirations of the city of Dubai,
its leaders and its inhabitants.
Designed by Misha Stefan-Stavrides,
founder of Mishascape, one of Dubai’s
newest architecture studios, Dubai Quill
responds to the sociocultural demographic
of the city while, at the same time, offering
recreational, scientifi c and cultural space
within the overall plan.
While at fi rst glance, Dubai Quill may
resemble something more science fi ction
than sand dunes and cityscapes, Stefan-
Stavrides actually designed his structure
around an Arabian folk tale he wrote.
In fact, despite its space-station-like
fi rst impression, according to his original
design brief, Dubai Quill is completely
organic and totally contextual.
“The building’s curve, earthbound by
gravity, captures the graceful tension
between earth and sky, balanced between
present and future. The architecture uses
a soft geometry to defi ne nature’s poetry of
motion, written in a single line,” explains
Stefan-Stavrides.
“As seen in the curvaceous architecture
of mosques and tents…the fl owing robes of
local dress…the organic fl ux of Arabic cal-
ligraphy…or the soft swirls of sand dunes.
The Quill’s form captures the essences of
the visual iconography surrounding us in
the UAE,” he adds.
Once upon a time, a lonely feather lived in a beautiful Palace, where exotic birds flocked and flew in the lush tropical gardens. The feather was lonely because she wanted to be part of a wing of one of
the exotic birds, but the birds had enough feathers of their own. All the different birds rejected her pleas. The Peacock had long colourful feathers of his own and couldn’t use her. The Falcon had strong wide
feathers and another would make him too heavy. The Dove had graceful white feathers and another would unbalance her peace and harmony. Even the Flamingo refused, stating that he was too tall and refined for
another feather. So one day, as the winds blew in from across the sands, the feather asked the wind to carry her away.
The wind gently picked her up and whisked her into the sky. She swirled round and round, up and down and eventually came to land in a grassy opening with trees and palms all around. She settled next to a
solitary rose growing on the grassy slope. The scent was lovely. At one end of the opening, a lake rippled against the soft bank. Children took boat rides on the lake and people picnicked under the shade of the
trees. Some walked together along the paved walkways, enjoying the sunshine and smiling. It was perfect, thought the feather. I will stay here in this beautiful park.
But that night, as the winds left, a huge storm came over the park. The sky growled and cold rain fell from the angry clouds. As the thunder raged above, a bolt of lightning cracked down from the heavens onto the feather lying on the wet grass. Instead of burning it to a crisp, something strange and magical
happened. The feather began to change. She started to grow and transform. She was changing into whatever she dreamed she could be. She
dreamed as hard as she could. She would have the beauty and form of the Peacock feather, the strength and width of the Falcon feather, the grace and balance of the Dove feather and the height and elegance of the Flamingo feather. She would shape herself to reach the sky, where all the other birds fly—as high as
the minarets. She would be a symbol for inspiration, because even a feather wants to be more that just a feather. For a
thousand nights she transformed herself from the spot beside the rose where she was let down by the wind and now she was ready, knowing what she would be.
A symbol of knowledge and learning. A place where people visited, a spectacle where ideas could be discussed within her frame. A space where people could view the park from the sky just like a bird. A
place where new ideas could inspire others and where rose gardens would scent the air. A place where the continuing history could be forged and written for future generations. The lonely feather had transformed
herself into a Quill. The Dubai Quill.
THE FOLK TALE
MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com022
CASE STUDYDUBAI QUILL
“I must have heard ‘inspired by the
palm leaf’ a hundred times to introduce
a new scheme…. I’m always looking for
overlooked metaphors which are just as
relevant to the region,” said Stefan-Stavr-
ides. “The UAE has a rich legacy associated
with birds. Falconry, fl amingos at Dubai
Creek, peacocks at the royal palaces and
even the dove graphics used for the logo
for Dubai’s Parks & Horticultural Depart-
ment. It therefore seemed apt and timely
to introduce the symbol of the feather to
develop the aesthetic.”
THE ROSE/FEATHER INTERACTIONThe rose, Stefan-Stavrides explains, is
much like the feather in this part of the
world—very prominent, yet very over-
looked. “Alongside the reference of the
feather, the rose is a particularly interest-
ing and appropriate fl ower to the region
and one that very few parks have, even
though they do well in this climate when
shaded from direct sunlight.”
He continues: “Both Attar of Rose, a
steam extracted oil used in the creation of
WHY A FEATHER? While the Arabian connection makes sense
after a bit of explanation, it certainly isn’t
immediately intuitive. So, it stands to rea-
son that the architect might have chosen
a more obvious or straightforward design
to illustrate his vision. But, according to
Stefan-Stavrides, that wasn’t an option.
“The starting point for the design was
the feather, but that wasn’t the design
itself. The Quill isn’t an enormous, over-
scaled feather. It’s much more refi ned
than that,” explains Stefan-Stavrides. “A
lot of buildings [in the Middle East] end
where they begin—at the starting point.
Architecture should go through a series of
permutations, developing the diagram, in
order to reach maturity. If not, the result is
pastiche, or worse, a design that is predict-
able and lacking in subtlety.”
In order to achieve that subtlety, he
purposely stayed away from the common,
sometimes pastiche, symbolism of UAE
architecture and sought to highlight some-
thing just as prevalent, but something that
remains slightly unnoticed.
The Quill’s curve captures the graceful tension between earth and sky, balanced between present and future
CASE STUDYDUBAI QUILL
023 023 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
perfumes, and Rose Water, which is used
for cooking, are widely used locally and
throughout the Middle East…. [Moreover]
a Roman custom, borrowed from ancient
Arabs, was to place roses outside a place
where confi dential discussions and meet-
ings were taking place.”
The Rose Garden is elliptical. Cut roses
are set into vases built into the curved
edge wall in a grid formation and can be
purchased from the kiosk at the narrow
far end. Curved, ramped, timber pathways
lead the visitor to walk around the rose
bushes growing in the soil.
The observer may view the horticulture
from lower and higher levels, fi nally being
tempted at the kiosk to purchase a bouquet
or rose products, all under the shade of the
splayed fronds above, which overlap the
open void and beckon potential visitors.
DECONSTRUCTING THE DESIGNThe conception of Dubai Quill was an
effort to marry nature and architecture,
using the fl uidity of curvilinear forms
growing out of the landscape to curve
upwards and embrace the sky.
Moreover, the purity of the forms is ex-
pressed as a symbol of strength, longevity
and individuality, where the fragmented
parts reconstitute to form a linear, direc-
tional composition.
“The Quill’s curve…captures the graceful
tension between earth and sky, balanced
between present and future. The architec-
ture uses a soft geometry to defi ne nature’s
poetry of motion, written in a single line,”
explains Stefan-Stavrides.
The structure itself—which is construct-
ed of shiny, iridescent material—refl ects
and refracts the surrounding landscape
and fl ora set against the backdrop of
Dubai’s metropolis. By employing a repeti-
tive series of parabolic lines in the self-
supporting quill-like structure, the profi les
splay upwards from an elliptical plan at
grade to a focal centre, a vertical point
134.5 metres above the datum level.
The Quill, its vane orientated south-
wards, shades the Grand Plaza and
glazed auditorium roof below from direct
sunlight. The Sky Café, embedded into the
structure of the Quill, is oriented to catch
the light from the western sunset, bathing
the space in a crimson glow.
Internally, the kinetic expression of
repetition permeates from the structural
forms themselves through to decora-
tive internal elements, thus blurring the
boundaries of where the architectural
The Quill is orien-tated to catch the the western sunset
The Quill’s form is meant as a symbol of strength, longevity and individuality
CASE STUDYDUBAI QUILL
024 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
BOTH ATTAR OF ROSE, A STEAM EXTRACED OIL USED TO CREATE PERFUME, AND ROSE WATER, WHICH IS USED FOR COOKING, ARE WIDELY USED LOCALLY AND THROUGHOUT THE REGION.
shell stops and the interior design begins.
The two disciplines fuse into one overall
concept, creating forms and spaces which
engage the local heritage and culture.
FORM AND FUNCTIONThe organization of the composition
is instantly visible, allowing visitors to
understand the program, which offers
a fl exible arena within the Grand Plaza
and the area between the auditorium roof
and the splayed profi les of the Quill for
live events and exhibitions. The adjacent
terraced amphitheatre can also be used for
live shows and events.
The public realm at this level (+4.00) of-
fers an elliptical paved promenade area in
plan, with the Quill rising at one end and
the pealed-away fronds of the sunken rose
garden at the other.
Entry to the children’s library and eleva-
tors to the Sky Café are at ground level,
with secondary perpendicular ramps lead-
ing down to the rose garden (+1.00) and
Conference area (-2.00) entrances below.
Further escalators and elevators located at
the Grand Plaza, allow for vertical circula-
tion to the underground car park (-5.00).
The Conference area houses the main
auditorium space, with the proscenium
stage and the VIP area behind. The oval
plan includes two compartmented areas
that can be screened off to provide sepa-
rate lecture rooms, or opened up to accom-
modate larger conferences.
A strip water fountain uniformly fl ows
over the glazed roof into the 1.5 metre wide
pool, which wraps the form. The water is
recycled, providing a self-cleaning mecha-
nism for the glazing. It also cools the
surface and space around. Events can be
held in the surrounding area, where kiosks
and stands can be positioned.
The main space is created by two cylin-
drical elevators, contained within the spine
of the Quill. The elevators are conceived of
as funicular pods hanging off cables that
run up the inside of the hollow shaft.
A WORD TO THE WISEThere is no hesitation when Stefan-Stavr-
ides explains that he designed the Quill to
push the envelope. He wanted to create
something that would be distinct in its
form, yet subtle in its approach.
He sought neither the latest palm nor
a ‘modern’ series of mashrabiya. Instead,
Stefan-Stavrides designed the Quill to
perform a specifi c function for its specifi c
context and, as such, the Quill could ex-
ist nowhere else on Earth than Dubai’s
Za’abeel Park.
When asked if the Quill could bring
about a new typology for Middle Eastern
cities, Stefan-Stavrides seems surprised by
the question. “I don’t think the Quill gives
way to anything. It has an identity which
is its own…. If the UAE seeks recognition
for good architecture, it must understand
that the design process requires time and
patience…. Slow down, do it properly and
leave a legacy for future generations.”
His parting advice for young architects
is simple and straightforward: “Invent,
risk and don’t be afraid to fail. As is com-
monly said, fortune favours the brave.”
PowerThe Quill is considered as a self-supporting structure, where the splayed profiles contain a steel structural frame. The frame is clad in aluminium panels in the way aluminium boat hulls are fabricated.
Solar panels are embedded into the flat profile, which receives direct sunlight throughout the daylight hours. The solar panels generate power to light the various components of the project and power the AC systems.
Photo-luminescent materials will be used, where zero electricity is required for emergency lighting.
WaterCold water tubes, laid within the splayed profiles of the Quill, will cool the alu-minium surface of the vane. During the evening hours, the humid air condenses on the surface and moisture trickles down channels set along the profiles. The water is collected at the base and recycled to be used within the building and for watering the rose garden.
PlantPlant areas are located adjacent to the existing services to the northern end of the site. A looped service road allows uninterrupted access to this zone. Tree planting will camouflage these out buildings.
MaintenanceSelf cleaning paint surfaces can be employed for use on the Quill. The audi-torium roof utilises water over the glazing to cool and clean the surface. This water is filtered and re-cycled within a closed fountain system.
BIOMIMETIC CONSIDERATIONS
Roses were his-torically used to signify confi den-tial meetings
Across from the rising Quill at one end, is the sunken rose gar-den at the other
026
PROJECT SNEAK PEAK
026
AL MAKTOUM ACCIDENT & EMERGENCY HOSPITAL
The atrium or ‘spine’ of the building is its
main focal point
By Nadia Tobia, Principal, Perkins Eastman
MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
PROJECTSNEAK PEAK
027 027 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
Nadia Tobia is a Principal of Perkins Eastman and the firm’s leader of the healthcare sector in the Middle East. She has more than 25 years of experience in master planning, urban design, interior design, and project management for civic, healthcare, and hospitality projects. Ms. Tobia has significant experience on large-scale master plans with international multi-disciplinary teams. In addition to her work in North America, she has completed projects in Iraq, the United Arab Emirates, China, Ireland, and for the United Nations. Recently, Nadia has been a key player on the firm’s work in the Middle East, including the Sheikh Khalifa Specialist Hospital in Ras Al Khaimah and the Al Maktoum Accident and Emergency Hospital in Jebel Ali.
Helipads grace the roof and exterior of the trauma centre
International design and architecture
fi rm Perkins Eastman designed the Al
Maktoum Accident and Emergency
(A&E) Hospital in Jebel Ali Dubai for
the Dubai Health Authority which, when
complete, will become the Emirate’s fi rst
dedicated A&E facility.
“Based on our experience with large-
scale complex care facilities, we believe
that the Al Maktoum A&E Hospital will
create a new standard for innovative,
patient-centered care in the UAE,” says
Jonathan N Stark, principal and managing
director of Perkins Eastman’s internation-
al operations. The state-of-the-art facility
is expected to be complete in 2012.
The design creates a facility capable of
providing immediate care for minor- to
high-level trauma accidents and emer-
gencies. The 300-bed, 95,000 sm facility
includes a four-story inpatient unit and a
large clinical including the emergency de-
partment and support services component.
Led by Toronto-based Principal Nadia To-
bia, the design team had to cater to a brief
that required state-of-the-art healthcare
design and technology, while at the same
time maintaining world-class design using
a non-institutional approach.
The highly integrated design provides
signifi cant fl exibility and a focus on patient
care and family needs utilizing the most
the interior of the building. Superimposed
on the “medical mall” concept is the hospi-
tality model of design with cafes and shops
in a comfortable environment. The design
approach throughout the project was a re-
sponse to cultural needs but also provided
a high standard of clinical function.
Being a trauma center, a ground and
rooftop helipad and an ambulance receiv-
ing area are directly linked to the trauma
resuscitation suite and the OR rooms,
diagnostic imaging unit with MRI, CT, and
X-ray capabilities. Additional spaces for
diagnostic imaging, surgery, endoscopy,
lab functions, and an outpatient clinic are
also included within the facility’s design.
A learning center with lecture hall, library
and clinical teaching labs are provided and
linked to the public areas.
Architectural features such as light-
ing, exterior and interior courtyards with
plants and water features, signage and
wayfi nding elements and art displays will
be highlighted to create a positive and
pleasant environment. “Designing with the
environment in mind is more challenging
for hospital setting than for other types
of buildings,” says Tobia. The volumes of
energy consumed by a hospital, as well as
the challenges presented by infection con-
trol measures and clinical standards are
particular challenges in healthcare design.
A FACILITY OF THIS IMPORTANCE AND MAGNITUDE DEMONSTRATES THE COMMITMENT OF THE DUBAI HEALTH AUTHORITY TO BRING WORLD-CLASS EMERGENCY CARE TO DUBAI.
ABOUT THE AUTHOR
advanced medical technology, interna-
tional design, and healthcare planning
solutions available. “A facility of this
importance and magnitude demonstrates
the commitment of the Dubai Health
Authority to bring world-class emergency
care to Dubai,” says Tobia.
From a planning perspective, the con-
cept focuses on the atrium or “spine” of the
building which provides direct access to all
medical departments—crucial for organiz-
ing circulation fl ow and departmental
adjacencies. This serves as the main spatial
organising element. The atrium provides
a central gathering space for patients and
family and brings in natural light deep into
The project team is targeting EHS certifi -
cation and LEED Silver certifi cation.”
Aesthetically, the Al Maktoum A&E
Hospital will be natural and soothing—an
oasis for healing. The choice of colours
in the main public areas are infl uenced
by natural sandstone colour of the desert
and are complemented with dark wood
paneling, granite fl ooring and fritted glass.
The colours in the clinical patient areas
also display a soothing palette and change
on every fl oor to aid in patient and visitor
wayfi nding. Materials with good infection-
control characteristics for the clinical areas
include resilient sheet fl ooring and solid
surface for counters and sinks.
The project team is aiming for LEED Silver certifi cation
The design of the facil-ity is both cultural and clinically sound
FEATURE GOLF COURSE ARCHITECTURE
HARNESSING THE ELEMENTSMiddle East Architect catches up with Bob Knott, senior development manager of golf courses for Jumeirah Golf Estates, to talk about designing, building and maintaining Earth, Fire, Wind and Water in the Middle East
The Earth golf course at Dubai’s
Jumeirah Golf Estates (JGE)—
which recently played host to the
Dubai World Championships—is a sharply
defi ned, sculptured course that was
inspired by the parklands of Europe and
North America. Designed by golf legend
Greg Norman and executed by Norman
and JGE’s director of golf operations,
Bob Knott, the course paints a magnifi -
cent pastiche of fl ora, rolling terrain and
rushing water. These natural components
also provide differing angles and changing
perspectives from each tee.
The Earth course is streaked with what
JGE calls, “Meandering, and occasionally
daunting, water features [which] are ever-
present factors when lining up one’s next
golf shot”. Fully grassed since April 2008,
JGE gave Earth two seasons to mature
before the championship tournament.
neighbourhood draws on rustic Mediter-
ranean architecture that complements the
desert context. The seven communities
sited around the Fire course are land-
scaped to complement the beauty of their
desert surroundings. Middle East Architect
caught up with Bob Knott, to talk about
sustainability, design and maintenance
of the Middle East’s most expansive golf
course development.
First, how does one build a green golf course in the desert? BK: When we started, we didn’t have the
Dubai World Championship in mind. This
began as simply a residential golf real
estate development. When you build a golf
course in the desert, the most important
thing you need is water.
I can shape anything in sand, it’s a won-
derful medium to work in, but if we have a
40mph wind coming through, everything
I’ve shaped that day could be blown away.
So as soon as we shape, we need access
to water, so the fi rst thing I did when I
came here was create a temporary lake.
We had a specifi c 24-inch main from
Dubai Municipality that would service
With a variety of inspirations that range
from the olive groves of Spain to classic
Roman towns and villages, the homes of
the Earth neighbourhood offer a compel-
ling variety of architectural styles. This di-
versity, coupled with the district’s verdant
topography, lends an air of expansiveness
and encourages residents to congregate in
the development’s ample outdoor space.
Because of the publicity surrounding
last month’s Dubai World Champion-
ships, the Earth course has become very
familiar to golfers and golf course design-
ers throughout the world. But JGE’s next
offering, the Fire course—which Knott
claims is completely fi nished—is still
shrouded in a bit of secrecy.
In terms of golf course architecture, Fire
is framed by a wide variety of fl ora, care-
fully selected to refl ect the overall theme
and to enhance its natural setting, which is
largely burnt grass and red sand. Accord-
ing to JGE: “Fire is in complete harmony
with its surroundings. The undulating to-
pography, with considerable protrusions,
creates a more challenging level of play.”
Rich tones of terracotta refl ected on
walls of stucco, stone and brick, the Fire
MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com028
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LEGRAND’S JGE COMMITMENT
029
FEATUREGOLF COURSE ARCHITECTURE
WHEN WE FIRST CAME HERE, THE SITE WAS A RAW DESERT. SAND WAS BLOWING ALL AROUND, DUNES WERE SHIFTING AND GREG NORMAN WAS SURROUNDED BY CAMELS.
our temporary lake so everything we built
emanated away from that water source.
When we fi rst came here, the site was a
raw desert. Sand was blowing all around,
dunes were shifting and Greg Norman was
surrounded by camels.
The fi rst thing he did was create a
‘routing’ which is a basic idea of where
the course will lie from tee #1 to green
#18—hopefully this is done in two loops of
nine holes so you’re always coming back
to a central point, which is the clubhouse.
Once we had that routing, we began decid-
www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT 029
ing on the style of the course. We began
looking at features we could design
into the landscape, whether those
were lakes or streams or trees or
general landscaping. After that,
we began the plotting process.
At tee #1, we put a stake in the
ground, then we would walk
down what would be
the middle of where
the fairway would
be and we would
identify the turn-
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POGGENPOHL’S JGE COMMITMENT
B&B ITALIA’S JGE COMMITMENT
Bob Knott, the man on the ground at JGE, was tasked
with executing Greg Norman’s vision
FEATURE GREEN COMMUNITIES
ONE 18-HOLE GOLF COURSE, BY PHOTOSYNTHESIS, WILL PROVIDE ENOUGH OXYGEN FOR 100,000 PEOPLE PER ANNUM. THIS IS A MAJOR FACILITY FOR THE ENVIRONMENT. EVEN FOR NON-GOLFERS, THIS IS A BEAUTIFUL LANDSCAPE.
ing point—at around 275 yards away—and
we put a stake in the ground there, which
would then become the centre of the fair-
way. Then we would go another 180 or so
yards and that’s the centre of your green.
After that, we brought in a team and
began shaping. I had shapers here from
Canada, Australia, New Zealand, South
Africa, the USA, Mexico and Great Britain.
The shaping team literally came from all
over the world.
At the rough grading stage we focus
on the general look and shape of the golf
course. Then another team comes in a
does a fi ne grade. After that, another team
comes in and starts putting in all the fea-
tures. It’s like a jigsaw puzzle. Then we get
irrigation and topsoil and eventually grass.
To get to this level of quality, you have
to spend an inordinate amount of time
preparing those surfaces.
What can you say about ‘Fire’? BK: The Fire golf course is a very special
course. It is a hidden gem. It is the most
beautiful golf course. The beauty of JGE
is that the four golf courses have differ-
ent themes. The formality of the Earth
golf course, with its very formal shaped
bunkers and so on, contrast sharply with
the featured bunkering on Fire, which has
a much more rustic feeling.
It goes much deeper than just one hav-
ing red sand and the other having white.
Fire is a beautiful course. Of the two, Fire
is certainly the equal of Earth as playing
strategies goes—but Fire is a bit shorter.
For Fire and Earth, tell us more about what kind of shaping, sculpt-ing and construction was required? BK: I’ll give you some statistics. We
moved and shaped two million cubic me-
ters of earth for these courses. Across Fire
and Earth, we have 60 hectares of playing
surface. We have 30,000 square meters of
greens and 25,000 square meters of tees.
Normally, I’d usually use a half metre of
sweet soil under the surface, but on these
courses we have used a full meter of sweet
soil, that means we’ve got 600,000 cubic
metres of sweet soil beneath the playing
surface on these two courses.
How did you import all of that veg-etation, specifi cally the grass? BK: To ensure we achieved the grass we
wanted, we took six or seven months
locating the Bermuda grass from a specifi c
farm in Pike Creek, Georgia. One of the
fi rst things I did when we found that grass
was to build a 100,000 square foot nursery
for us to grow the grass we needed and
then whenever we were growing areas, we
simply harvested from our own nursery.
That was absolutely necessary because
you cannot import that amount of grass we
needed here. We needed to control the en-
vironment in which that grass was grown;
we wanted to control the percolation rates;
we wanted to control the type and quality
of the grass on the surface and to do that,
we needed our own nursery.
It’s about controlling the environment
of the golf, as much as you reasonably can.
Remember, we’ve got in excess of 450,000
square metres of bark mulch and 3,600
mature trees. I have trees out there that
are 11-12 metres high already.
To harvest and maintain that amount of vegetation, what are your water requirements? BK: I’ll give you a couple fi gures on ir-
rigation. We have 20,000 linear meters
of mainline ranging from six to 24 inches
in diametre. We have 70,000 metres of
lateral irrigation piping out there.
We have 17,000 metres of power cable
and 20,000 metres of communication
cable. On just those two courses, we have
4,000 sprinkler heads. During construc-
tion, we were using 4.5-5.0 million gallons
During construction JGE was using up to 5.5 million gallons of water per day
MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com030
FEATUREGREEN COMMUNITIES
031 031 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
of water per day. We expect the cost of
water after maturation to be about AED 6
million per year. Maintenance should be
about AED 8 million per year.
But, it’s important to keep in mind,
every gallon of water used on the course is
treated water. Nakheel is building its own
sewage treatment plant on the project site,
which is big enough to supply water to the
entire 1357 hectares. It’s creating a habitat
for both human beings and wildlife. We
have an extremely sophisticated computer
system to regulate our water usage as well.
Some of those numbers are astro-nomical. In the era of sustainability, do you feel you have to justify us-ing the amount of resources used?BK: I think you do. For people who don’t
understand golf courses, they can appear
to be wasteful of resources and energy. As
you might imagine, I have a totally reverse
opinion. On a golf course you have the
most wonderful natural environment. You
only have to walk around this project site
now to see some of the most marvellous
wildlife, which has made its home here.
Up until 3-4 weeks ago, we had about 20
fl amingoes living on the golf course. Next
year, when they come back, we’ll have
double that. I had a family of swans arrive
18 months ago and they’ve never left. I
have tens of thousands of bird species that
have found homes here. It’s an environ-
mentally friendly place. We’re creating this
environment, we have to be conscious of
the environment as well.
In fact, Greg Norman and our chairman
Sultan Ahmed bin Sulayem were founding
members of the Environmental Institute of
Golf. We’ve been very conscious that as we
built this that we were mindful of where
we were going with it. To build quality is
expensive but it’s an enhancement to the
environment. Let me give you another fact,
one 18-hole golf course, by photosynthesis,
will provide enough oxygen for 100,000
people per annum. This is a major facility
for the environment. Even for non-golfers,
this is a beautiful landscape.
What is the future of JGE? BK: I think JGE is a jewel in the crown.
I know times are diffi cult and things are
hard but when this project is fi nished—
hopefully in the next 12-18 months—I
think it’ll set a benchmark for projects of
this kind in the region. To be frank, golf
courses are just like hotels; hotels need to
put bums in beds, golf courses need play-
ers on the courses. If I have 500 people out
there playing golf everyday, I’ll be happy.
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MIELE’S JGE CONTRIBUTION
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BANG & OLUFSEN’S JGE COMMITMENT
Between Fire and Earth, JGE boasts 450,000 square me-tres of bark mulch
JGE employed the services of the some of Dubai’s best F&B providers for DWC
JGE is “creating a habitat for human be-ings and wildlife”
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033 033 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
INTERNATIONAL CASE STUDYROME’S MUSEUM OF 21ST CENTURY ART
MAXXI
MAXXI represents an attempt to bundle, twist and build mass in some places and reduce it in others
The Italian capital’s National Museum of 21st Century Arts
The MAXXI relates with the urban
context within which it is set by renew-
ing the horizontal development of the
former military barracks. The geometrical plan
of the project aligns itself with the two urban
grids that regulate the town planning structure
of the area and the new interpretation of these
two geometrical plans within the proposal
generates the surprising geometrical complex-
ity of the campus.
“The site has a unique L-shaped footprint
that meanders between two existing build-
ings. Rather than seeing this as a limitation...”
explains Zaha Hadid, principal and founder of
Zaha Hadid Architects, “...we used it to our ad-
vantage, taking it as an opportunity to explore
the possibilities of linear structure by bundling,
twisting, and building mass in some areas
and reducing it in others—threading linearity
throughout both interior and exterior.”
The two urban grids are mediated by sinuous
lines that harmonise the plan and facilitate the
fl ow within the site. The pedestrian walkway
that crosses the campus is open to the public
and has been reinstated after approximately
100 years of being blocked by the barracks.
This walkway follows the soft outline of the
museum, sliding below the upper level galler-
ies towards Via Masaccio. The interior of the
MAXXI can be seen by visitors and pedes-
trians through the numerous openings in its
curvilinear walls that on the one hand, protect
its contents, yet beckon the visitor through the
broad glazed surface on the ground fl oor.
The main concept of the project is directly
linked to the purpose of the building as a centre
for the exhibition of visual arts. The walls that
cross the space, and their intersections, defi nes
interior and exterior spaces of the MAXXI. This
system acts on all three levels of the building,
the second of which is the more complex—with
a wealth of connections with various bridges
that link buildings and galleries together. The
visitor is invited to enter into a series of con-
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Total site area 29,000 m²Exterior spaces 19,640 m²Interior spaces 21,200 m²Exhibition spaces 10,000 m²Facilities 6,000 m²MAXXI Art 4,077 m²MAXXI Architecture 1,935 m²Total volume 113,000 m³Maximum height 22.90 m
CONSTRUCTION DATATotal Steel used for structure 6,700,000 kgConcrete cast in-situ 50,000 m³ Total surface of fair-faced con-crete 20,000 m² Total surface area of glazing 2,600 m²Total working hours 1,250,000
Cost EUR 150 million Visitors forecast 200,000 – 400,000 per year
Works of art 350Architectural drawings 75,000
FACT SHEET
INTERNATIONAL CASE STUDY ROME’S MUSEUM OF 21ST CENTURY ART
034 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
tinuous spaces, rather than the compact
volume of an isolated building.
“The MAXXI should not be considered
just one building—it should be thought
of as several buildings,” says Hadid. “The
idea was to move away from‘the museum
as an object’ and towards the idea of
a ‘fi eld of buildings’.”
The interior spaces,
defi ned by the
exhibition
walls,
are covered by a glass roof that fl ood the
galleries with natural light fi ltered by
the louvered lines of the roofi ng beams.
These beams underline the linearity of
the spatial system, aid in articulating the
various orientations of the galleries and
facilitate circulation through the museum
and campus.
“I see the MAXXI as an immersive
urban environment for the exchange of
ideas, feeding the cultural vitality of the
city,” says Hadid. “It’s no longer just a mu-
seum, but an urban cultural centre where
a dense texture of interior and exterior
spaces have been intertwined
and superimposed over one
another.”
THE FIELD OF POSSIBILITIESThe MAXXI addresses the question of its
urban context by maintaining a reference
to the former army barracks. This is in no
way an attempt at topological pastiche,
but instead continues the low-level urban
texture set against the higher level blocks
on the surrounding sides of the site. In this
way, the MAXXI is more like an ‘urban
graft’, a second skin to the site.
At times, it affi liates with the ground
to become new ground, yet also ascends
and coalesces to become massive where
needed. The entire building has an urban
character: prefi guring upon a directional
route connecting the River to Via Guido
Reni, the Centre encompasses both move-
ment patterns existing and desired, con-
tained within and outside. This
vector defi nes the primary entry
route into the building.
By intertwining the circula-
tion with the urban con-
text, the building
shares a
MAXXI is designed around the concept of directional drifts and the distribution of densities rather than key points
“We want to use light to create worlds of experience, make work easier, improve communications and safety while being fully aware of our responsibility to the environment.”
Ever since the company was founded in 1950 by Dr. Walter Zumtobel, this vision has guided Zumtobel in developing innovative and individual lighting solutions. The objectives at the heart of this philosophy have always been the emotional effect of light within its architectural surroundings, people’s well-being, and energy- optimised use of light. Zumtobel generates unique customer benefit through the combination of technology, design, emotion and energy-efficiency.
The new MAXXI National Museum of the XXI Century Arts represented a target to develop a synergetic strategy in accordance with the development of internal (exposition galleries) and external design. The target to provide a scenario with the right illumination throughout the day offered the chance to combine natural light with the integration of different lighting solutions. It was necessary to develop a solution which embraced solar shields and dimmable luminaries.
Zumtobel has been involved in the following Gulf projects: Yas Island Marina Hotel (Abu Dhabi), Burj Dubai, Dubai Mall (Porsche Design, Paul Smith, G-Star, Swarovski Crystal), Atlantis Palm Hotel Dubai
Regional office contact (MENA):Oliver Schwarz (Regional Manager)[email protected] T:+971(0) 4299-3530F: +971(0) 4299-3531
ZUMTOBEL’S LIGHTING SOLUTION
INTERNATIONAL CASE STUDYROME’S MUSEUM OF 21ST CENTURY ART
035 000000000000000353535353535535353535353535353335335355035 www.constructionweekonline.com | 12.09 | MIDDLE EAST ARCHITECT
public dimension with the city, overlap-
ping tendril-like paths and open space. In
addition to the circulatory relationship,
the architectural elements are also geo-
metrically aligned with the urban grids
that join at the site. In thus partly deriving
its orientation and physiognomy from the
context, it further assimilates itself to the
specifi c conditions of the site.
SPACE VS. OBJECTOur proposal offers a quasi-urban fi eld; a
‘world’ to dive into rather than a build-
ing as signature object. The campus is
organised and navigated on the basis of
directional drifts and the distribution of
densities rather than key points. This is
indicative of the character of the MAXXI
as a whole: porous, immersive, a
fi eld space. The exter-
nal as well
as internal circulation follows the overall
drift of the geometry. Vertical and oblique
circulation elements are located at areas of
confl uence, interference and turbulence.
“After many studies, our research
evolved into the concept of the confl uence
of lines, where the primary force of the site
is the walls that constantly intersect and
separate to create both indoor and outdoor
spaces,” explains Hadid. “It’s an intrigu-
ing mixture of galleries, irrigating a large
urban fi eld with linear display surfaces.”
The move from object to fi eld is critical
in understanding the relationship the
architecture will have to the content of
the artwork it will house. Whilst
this is further
expounded by the contributions of gallery
and exhibitions experts, it is important
here to state that the premise of the
architectural design promotes a disinherit-
ing of the ‘object’ orientated gallery space.
Instead, the notion of a ‘drift’ takes on
an embodied form. The drifting emerges,
therefore, as both architectural motif, and
also as a way to navigate experientially
through the museum.
It is an argument that, for art practice is
well understood, but in architectural he-
gemony has remained alien. We take this
opportunity, in the adventure of designing
such a forward looking
institution, to confront
the material and
conceptual
dissonance
evoked
by
I SEE THE MAXXI AS AN IMMERSIVE URBAN ENVIRONMENT FOR THE EXCHANGE OF IDEAS, FEEDING THE CULTURAL VITALITY OF THE CITY.
ZAHA HADID
INTERNATIONAL CASE STUDY ROME’S MUSEUM OF 21ST CENTURY ART
036 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
art practice since the late 1960’s. The path
led away from the ‘object’ and toward
fi elds of multiple associations that are
anticipative of the necessity to change.
INSTITUTIONAL CATALYSTAs such, it is deemed signifi cant that in
confi guring the possible identity of this
newly established institution—housing
both art and architecture—with its aspira-
tion towards the polyvalent density of the
21st century, conceptions of space and
indeed temporality are reworked.
Modernist Utopian space fuelled the
white ‘neutrality’ of most 20th century
museums. Now, this disposition must be
challenged, not simply out of willful nega-
tion, but by the necessity of architecture to
continue its critical relationship with con-
temporary social and aesthetic categories.
Since absolutism has been indefi nitely
space, exchanging pavilion and court in
a continuous oscillation under the same
operation. And further deviations from the
Classical composition of the wall emerge
as incidents where the walls become fl oor,
or twist to become ceiling or are voided to
become a large window looking out.
By constantly changing dimension and
geometry, walls adapt themselves to what-
ever curatorial role is needed. By setting
within the gallery spaces a series of poten-
tial partitions that hang from the ceiling
ribs, a versatile exhibition system is cre-
ated. Organisational and spatial invention
are thus dealt with simultaneously amidst
a rhythm found in the echo of the walls to
the structural ribs in the ceiling that also
fi lter the light in varying intensities.
STAGE FOR THOUGHT/ARTIt is in this way that the architecture
performs the ‘staging’ of art, with move-
able elements that allow for the drama to
change. ‘Sets’ can be constructed from the
notional elements of the gallery spaces.
These are attuned to the particularities of
the exhibition in question, materialising or
dematerialising accordingly.
The drift through the MAXXI is a trajec-
tory through varied ambiences, fi ltered
swpectacles and differentiated luminos-
ity. Whilst offering a new freedom in the
curators’ palette, this in turn digests and
recomposes the experience of art spectat-
worship as liberated dialogue with artefact
and environment.
suspended from current thought on the
issue of art presentation, it is towards the
idea of the ‘maximising exhibition’ that the
design for the MAXXI gravitated. In this
scenario, the MAXXI makes primary the
manifold possibilities for the divergence in
showing art and architecture as well as ca-
talysing the discourse on its future. Again,
the ‘signature’ aspect of an institution of
this calibre is sublimated into a more pli-
able and porous organism that promotes
several forms of identifi cation at once.
ON CONTEMPORARY SPATIALITYIn architectural terms, contemporary spa-
tiality is most virulently executed by the
fi gure of the ‘wall’. Against the traditional
coding of the wall in a museum—i.e. the
immutable vertical armature for the dis-
play of paintings, or delineating discrete
spaces to construct order and linear nar-
rative—walls in MAXXI create a critique
of that coding through their emancipation.
The wall becomes the versatile engine for
the staging of exhibition effects.
In its various guises—solid wall, projec-
tion screen, canvas, window to the city—
the exhibition wall is the primary space-
making device. By running extensively
across the site, cursively and gestural, the
lines traverse inside and out. “The walls of
the MAXXI create major streams and mi-
nor streams,” explains Hadid. “The major
streams are the galleries and the minor
streams are the bridges and connections.”
Urban space is coincidental with gallery
MAXXI decodes the traditional notion of the ‘wall’ by making them versatile engines for displaying artwork
Architects Zaha Hadid & Patrik SchumacherProject Architect Gianluca Racana (Zaha Hadid Limited)Structural Engineering Anthony Hunt Associates, OK Design GroupMechanical Engineering Max Fordham & Partners, OK Design GroupLighting Design Equation LightingAcoustic Design Paul Gilleron AcousticDesign Team Paolo Matteuzzi, Anja Simons, Fabio Ceci,Mario Mattia, Maurizio Meossi, Paolo Zilli, Luca Peralta, Maria Velceva, Matteo Grimaldi, Ana M.Cajiao, Barbara Pfenningstorff, Dillon Lin, Kenneth Bostock, Raza Zahid, Lars Teichmann, Adriano De Gioannis, Amin Taha, Caroline Voet, Gianluca Ruggeri, Luca Segarelli, ABT David Sabatello & Giancarlo Rampini
PROJECT DESIGN
039
ARCHITECTURECOMPARE & CONTRAST
039 www.constructionweekonline.comt | 12.09 | MIDDLE EAST ARCHITECT
PARLIAMENT BUILDINGSBATTLE OF...BATTLE OF...
Location Holyrood, Edinburgh, ScotlandArchitect Enric MirallesStyle Modernist, Abstract
Construction commenced June 1999Construction finished October 2004
Estimated cost £414 millionFirst debate September 7, 2004
Fun Fact Notwithstanding the level of controversy surrounding cost, the Scottish Parliament Building proved controversial in a number of other respects: the decision to construct a new building, the choice of site, the selection of a non-Scottish architect, and the selection of Bovis as construction manager after having earlier been excluded from the shortlist.
In 1997, the initial cost of constructing a new Parliament building was given as £40 million, the final cost was more than ten times that amount.
SCOTTISH PARLIAMENT BUILDING
Location Berlin, GermanyArchitect Paul Wallot (1894); Norman Foster (1999)Style Neo-classical, Modernist
Original Reichstag building 1884Destroyed by fire 1933
Original distinctive architectural feature Glass/steel cupolaRefurbishment + new Norman Foster cupola 1999
Fun Fact Construction of the building actually began well after 1871. In 1872 an architectural contest with 103 participating architects was carried out to erect an all-new building. Work did not start until ten years later though, ow-ing to various problems with purchasing property for the new building and arguments between Wilhelm I, Otto von Bismarck and the members of the Reichstag about how the construction should be performed.
In 1882, another architectural contest was held, with 189 architects partici-pating. The original building was most acclaimed for the construction of an original cupola of steel and glass, an engineering masterpiece of the time.
REICHSTAG PARLIAMENT BUILDING
THE LAST WORD GRAHAM WOOD
040 MIDDLE EAST ARCHITECT | 12.09 | www.constructionweekonline.com
and Dubai both underperformed compared to previous years. Is there any worry of a less-than-desirable turnout for CityBuild? GW: At a time when many exhibitions
were cancelled globally, Cityscape Abu
Dhabi and Dubai bucked the trend and
delivered very impressive exhibitor and
visitor numbers. For CityBuild, we are very
bullish about the expected turnout—as
MEA readers will witness when they visit
the show at ADNEC.
CityBuild is being touted as a B2B event but will consumers, dis-tributors or contractors be able to seal deals while attending? GW: There will be no reason for a con-
sumer to visit CityBuild as it is a trade
only exhibition. But to answer the other
part of you question, yes, distributors and
contractors will be there signing deals
alongside procurement managers, devel-
opers and architects.
Point blank question: How will CityBuild help architects & engi-neers do their jobs better? GW: Under one roof, design profes-
sionals, architects and engineers will be
able to source new products, learn about
innovation in the Middle East construction
industry, meet several new business part-
ners and achieve in four days what would
take months to do without this exhibition
taking place.
CityBuild AD is a new international
trade exhibition for the building
and construction industry. It is
happening on 18-21 April, 2010—in con-
junction with Cityscape Abu Dhabi—and
aims to become a B2B platform bringing
together buyers, suppliers, manufacturers,
distributors, and importers of products
used in the construction of real estate and
infrastructure projects. MEA caught up
with group director Graham Wood to
get the lowdown on this upcoming event.
Put simply, what is the funda-mental difference between City-scape and CityBuild?
GW: Cityscape is the leading B2B exhibi-
tion for the real estate investment and
development industry. CityBuild is the
co-located exhibition for all product
companies involved in the building and
construction industry.
Is it fair to say Cityscape is for those funding projects while City-Build is for those building them? GW: Yes. The co-location of these two
events is exactly what the industry is look-
ing for. Investors can source new invest-
ment opportunities at Cityscape. Develop-
ers and architects can source new products
and contractors at CityBuild.
This is Abu Dhabi’s fi rst City-Build. What needs to happen for
the it to be considered a success? GW: There are many ways to view the
success of an exhibition. The number of
exhibitors already confi rmed has exceeded
all expectations, and with several months
to go, we expect the exhibition area to sell
out. That will be deemed a success.
In terms of visitors, the co-location with
Cityscape Abu Dhabi will guarantee an
excellent fl ow of trade visitors to CityBuild.
Add to this CityBuild’s extensive market-
ing, advertising and PR campaign and
you have the foundations for high visitor
numbers—which will also be deemed a
success for a launch event.
What kind of exhibitors are you expecting to attend?GW: International companies from across
the building and construction industry;
tiles, aluminium, steel, concrete, water
technologies, marble and stone etc etc
Will CityBuild include a lecture series like Cityscape’s Green Day or World Architecture Congress? GW: There will be a series of confer-
ence sessions, Innovation Zone displays,
Showcases and workshops. At the time of
writing, these sessions are being re-
searched with key industry professionals
and visionaries, to ensure that all topical
and industry critical issues are covered.
In 2009, Cityscape Abu Dhabi
CITYBUILD ABU DHABIBuilding cities and communities, one product at a time
UNDER ONE ROOF, ARCHITECTS AND ENGINEERS WILL BE ABLE TO SOURCE NEW PRODUCTS, LEARN ABOUT INNOVATION IN THE GCC CONSTRUCTION INDUSTRY, MEET MANY NEW BUSINESS PARTNERS AND ACHIEVE IN FOUR DAYS WHAT WOULD TAKE MONTHS TO DO WITHOUT THIS EXHIBITION TAKING PLACE.
Leading by Design...naturally
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The practice operates across four key areas: Buildings, Infrastructure, Environment and Specialist Consulting. We adopt an integrated approach, combining structural, civil, building services and technical consultancy skills with an in-depth knowledge of urban planning, environmental impact and sustainable construction.
Celebrating thirty years in the Middle East
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Abu DhabiTel: +971 (0) 2 626 8622
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