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Contents Introduction ........................................................................................................................................................................................................................................... 0
Why Abraj Al Bait Towers ................................................................................................................................................................................................................... 0
Evolution of Saudi Architecture .............................................................................................................................................................................................................. 1
Architecture ........................................................................................................................................................................................................................................... 6
The Clock Tower ................................................................................................................................................................................................................................. 9
Context, Climate and Culture ................................................................................................................................................................................................................ 14
Core Values ........................................................................................................................................................................................................................................... 17
Conclusions ........................................................................................................................................................................................................................................... 18
Introduction
If architecture is the product of the culture that produced it1. This paper
attempts to evaluate the recently completed Abraj Al‐Bait Towers and the
factors that rationalize it from its theological, contextual, cultural and
architectural stand point.
Why Abraj Al Bait Towers “Middle East” has always been a witness to problematic and opposing
dialectics, tradition and modernity, east and west among many others2but the
point of view has mostly been standard. Exponential growth in the recent past
has superseded all previously held indigenous architectural practices, these
practices not only rose in ambition but are also unprecedented. Abraj Al bait
is very unique because of its juxtaposition at the confluence of faith, fortune
and function almost instigating an inquiry ‐ Why they did what they did.
1 Loos, Adolf. "“Ornament and Crime”." In In Programs and Manifestos on 20th Century Architecture, edited by Ulrich Conrad. 1908.
2 Isenstadt, Sandy, Nezar Alsayyad, and Kishwar Rizvi. "From Modernism to Globalization." In Modernism and the Middle East Architecture and Politics in the 0Twentieth Century. Seattle: University of Washington Press, 2008.
Core Values & Belief System(Islamic)
Action & Activiteswith/ without alignment to the values
Cultureas a result of the values and action.
Architectural Expression
Decipered in order of Function, Expression and Form
Figure 1: Conceptual and Analytical Framework
Figure 2: An Artists Rendition of Abraj Al Bait Complex. Digital Image .CTUBH. 2015. http://skyscrapercenter.com/building/makkah‐royal‐clock‐tower‐hotel/84
The Abraj Al‐Bait Towers, also known as the
Makkah Royal Clock Tower Hotel, is a
government‐owned mega tall building complex in
Makkah, Kingdom of Saudi Arabia. Makkah is the
birthplace of Islam and its Prophet Muhammad
(pbuh) and also home to Ka’aba, the holiest
edifice in Islam, situated within the largest
mosque known as Masjid Al Haram, {The Sacred
Mosque). The ka’aba (Cube) is a cuboidal building
considered to be the Bait Ullah (House of God),
Awal ul Bait (First House) build by Ibrahim
(Abraham), the common patriarch of the world’s
major monotheistic religions of Judaism,
Christianity and Islam. Muslims, the followers of
Islamic faith, are obligated to pray five daily
prayer oriented in the direction of Ka’aba known
as the Qibla wherever they may be in the world.
One of the five pillars of Islam requires a Muslim
to perform the Hajj pilgrimage that comprise
circumambulation of the Ka’aba. Across the
street south of Masjid Al Haram is the Abraj Al
Bait Complex that houses a five level shopping
mall at its base, a multi‐level thousand car
subterranean parking, Central 601m Hotel tower,
is flanked by three residential towers each side.
ABRAJ AL BAIT
1
Evolution of Saudi Architecture
Modern Architecture has its inception in the
western industrialized countries and it its purest
form it was rarely repeated elsewhere, only the
results were imitated across the world. It was
only after the discovery of oil in 1938, there was
any significant development in Saudi Arabia. The
Increased oil demands during after the world
wars, fast tracked the development of the
country and its infrastructure where none existed
before. This created a set of new developments
that challenged functional, technological and
3 Curtis, William J. R. "Modernity, Tradition and Identity in the Developing World." In Modern Architecture since 1900, 567 ‐ 570. 3rd ed. London: Phaidon, 2003.
urban circumstances where some sort of modern
architectural solution seemed relevant or
unavoidable. These often misapplied and
degraded version of modern designs had
minimum vernacular precedent to adapt but
faced considerable challenges due the changing
cultural conditions. This meant that the Saudi
economy advanced from a subsistence one to a
highly industrialized one in a single generation.
This meant that there was no time to adjust for
the social and cultural changes that western
nations had over a century to adapt to. The
Sensitive local traditions were often overlooked
to keep pace with the progress and imported
designs and technologies were implanted as is,
bringing with them not only the modern outlook
but also the unresolved issues that modern
architecture was beginning to answer. The way
out of this impasses was to try to put together
some combination of the local and the
international, here fake regionalism with a few
gingerbread attachment over an ill‐conceived
modern structural glass box was a constant
danger3. The Resulting identity crisis was being
addressed either by sticking to their modern
vocabulary or as historic caricatures. The Failure
to establish an architectural language and the
authentic representation of the culture that was
to use it produced architectures with shades of
vernacular symbolism and obscure typologies. An
2
epidemic of technological brashness hit the
Persian Gulf and the desert that lacked the any
monumental and urban examples in once
nomadic regions. What was needed was a
thorough assessment, from first the principles, of
formal suggestion inherent in climate, materials
and social patterns. Unfortunately such rigour
was not usually applied and the building looked
as if they could have stood anywhere. 4
The construction boom relied upon the imported
professionals, imported ideas, technologies and
even imported labour. When local expressions
where attempted they often took the form of
veneers of horseshoe arches or contrasting
4 Curtis, William J. R. "Modernity, Tradition and Identity in the Developing World." In Modern Architecture since 1900, 584. 3rd ed. London: Phaidon, 2003.
voussoirs, which are again an imported
vocabulary. Attachment of fake screen placed in
front of fully glazed facades. An exception to this
was the hajj terminal of the King Abdul‐Aziz
Intentional Airport just outside Jeddah designed
by Skidmore, Owings and Merrill in 1980 as a high
tech tent tensile structure reminiscent of the
Bedouin tents. The repeating modules of the roof
were made of stretched tensile fabric coated with
Teflon for strength durability, shade and
insulation. These canopies where held up by steel
masts arranged in a formal way, the terminal was
dedicated to the growing number of hajj (Refer
Box) pilgrims who arrived by plane from all over
the world to proceed to Makkah. Beyond the
functional requirement of shelter, circulation and
practical construction methods, the architects
managed to deal effectively with the symbolic
aspect of the task that was only experiential and
technologically advanced, it was easily relatable
back to the tradition and its association by the
general public.
Figure 33King Abdul Aziz International Airport – Hajj Terminal, 2015 SOM
3
The precursor to this was earlier in 1974, when
German architect Rolf Gutbrod and structural
engineer Frei Otto designed the Intercontinental
Hotel in Makkah incorporating the basic element
of a Bedouin tent but at a much larger scale, using
steel cables and wooden slats instead of rope and
cloth. The 2000 seat conference centre and 170‐
room hotel synthesised advanced structural
techniques and revived local artistic traditions
that had become almost extinct. In their
directness and simplicity, these vernacular details
and finishes, such as the suspended wooden
lattices, accentuated the machined elegance of
the aluminium‐clad conference centre. The
conference centre is structurally quite
5 Aga Khan Award for Architecture 1980 Cycle." Intercontinental Hotel & Conference Centre ‐ Makkah Saudi Arabia. 2007. Accessed June 6, 2015
sophisticated, consisting of tent‐like roofs
suspended from steel masts. The mosque, also
shaded by the suspended lattice, was made of
local basaltic stone. Aga Khan Award for
Architecture was awarded in its first cycle for its
design5. When asked to switch sites after winning
the completion, architect Gutbrod after
investigating the site in Makkah concluded that
6 Al ‐ Harriri, Mokhless. "Intercontinental Hotel and Conference Centre." In Technical Review Report, 1. Vol. 9.VI.80 (VIII). Aga Khan Award for Architecture, 1980.
the proximity to the Holy Mosque and the
character of the hills surrounding the site
required an unobtrusive building that would be in
harmony with its environment6 . This was the
beginning of the Saudi romance with the tensile
structures and lasting collaboration with Frei
Otto. And working under him was Mahmoud
Bodo Rasch, son of an International Avant grade
architecture figure from 1920 Bodo Rasch, while
studying architecture at the University of
Stuttgart, Rasch was the project manager for the
convertible umbrellas that Otto was designed
initially for the German pavilion at Expo ‘67, but
constructed for the ‘71 Bundesgartenschau
(Federal Horticulture Show) in Cologne. From this
Figure 4: View to the auditorium from the shared courtyard between the conference facilities and the hotel © Mokhless Al‐
Hariri
4
Partnership came a number of mutual project in
the Middle East that Otto went on to win awards
for, in turn passing on his legacy to Rasch as a
protégé. In 1971 Rasch while lecturing at the
University of Texas at Arlington, met Dr. Sami
Angawi, an architect from the Hejaz7 region. In
1975, Dr Angawi had established and directed the
Hajj Research Centre at King Abd al‐Aziz
University in Jeddah, This centre served as a
planning consultant to the Saudi government on
hajj affairs, with emphasis placed on cultural,
environmental, and urban and architectural
studies, while creating a database on all
information about the hajj. When the
7 Hejaz Region: A region in the west of present‐day Saudi Arabia. Its main city is Jeddah, but it is probably better known for the Islamic holy cities of Mecca and Medina. As the site of Islam's holy places, the Hejaz has significance in the Arab and Islamic historical and political landscape. Historically, Hejaz has
Competition for pilgrims temporary housing at
Mina was floated. Rasch and Angawi worked
under Otto, for his proposal of the tent city.
Angawi had introduced Otto and Rash to the
Governors and the Royal family, al thought the
authorities decided to scrap the tent city
proposal and install cotton tents instead. This
lead to other projects to be designed by them
throughout the country. Frei Otto’s proximity and
his connection to royal family won him the
commission to design the award winning
Tuwaiq Palace among many others in the
Diplomatic centre in his trade mark light weight
style with Rash and Angawi as facilitators. Angawi
always seen itself as separate from the rest of Saudi Arabia ad is its most populated region. Saudi Hejaz is are of ethnically diverse origins. It being the most cosmopolitan region in the Arabian Peninsula. People of Hejaz have the most strongly articulated identity of any regional grouping in Saudi Arabia.
was also a mutawwaf —a guide, or organizer, of
parties of pilgrims making the Islamic pilgrimage
(hajj), a position that has been handed down
through a small number of Hejazi families.
Angawi had always been vocal about condemning
the destruction of historical sites particularly in
his native Makkah, Medina and Jeddah. This
Outspoken criticism of official apathy in
preservation of historic architecture of cultural
and theological significance made him give up his
role as a director of the Hajj Research Centre in
1988. These Conflict of classicist vision on Angawi
and the modernist visions of the authorities
created a vacuum that was filled by Rash in
Their place of origin alienates them from the Saudi state, which invokes different narratives of the history of the Arabian Peninsula. Thus, Hejaz is experienced tensions with people of Najd.
5
tandem with the “Saudi Bin Laden Company” as
the royal builder. Mohammed Bin laden found
the construction company in 1930, after winning
the test and approval of the ruling monarchs they
were accorded that status of the royal builders
under a decree by King Faisal, grating them all
projects thereafter for construction, expansion
and maintenance of the holy sites and other
major infrastructure. First, second and the third
expansions of the holy mosques were all carried
by them. Their latest project is the kingdom
tower, slated to be the tallest upon completion
surpassing their own construction the second
tallest building in the world Abraj Al bait. The
project has been subjected to a deluge of
8 OUROUSSOFF, NICOLAI. "New Look for Mecca: Gargantuan and Gaudy." The New York Times, December 30, 2010, Art & Design sec. http://www.nytimes.com/2010/12/30/arts/design/30mecca.html
negative criticism from its scale and its function.
Renowned Architectural Critic Nicolai Ouroussoff
for the New York Times8 called it an architectural
absurdity describing it with adjectives like
gargantuan, gaudy and grotesque. The main
critique across all review by architectural
critiques being the height of the tower and
commercial activities that are attached to it. They
are presented as violations to the sanctity of the
Holy site. Another contention raised being the
disregard of the historic site and the preference
to development over preservation. Other than
the usual criticism, Oliver Wainwright
additionally comments on the tower’s
architecture as a pastiche of different style and
Façade ornamentation in his article in the
guardian. Although the critics present a single side
of the development only, the online forums show a
more balanced picture as how some users a deeply
appalled by it and how some marvel at its grandeur.
The professional and public opinion are very similar
in stating the initial personal response rather than a
substantiated opinion. Some critics do acknowledge
the legitimacy of this building to a certain extend
but do not suggest any other viable solution that
they deem appropriate to democratise its functions.
Many of which can easily be resolved simply but
the fundamental concern of catering to the
demands of the pilgrims is tricky as these are
cultural and personal in nature.
6
Architecture
At the heart of the holiest Islamic city, Makkah
Abraj Al Bait also known as Royal Clock Tower
brings an air of modernization to the bustling
historic centre of Makkah. The complex was
developed as a component of the King Abdul‐Aziz
Endowment Project that aims to provide
comfortable accommodations for pilgrims who
make their journey to the city during the annual
Hajj period. It is conveniently located adjacent to
the Masjid Al Haram Grand Mosque, which can
accommodate up to two million worshippers
over the course of the event and is currently
under expansion that would complete by 2020.
Constructed, at a cost of three billion dollars, by
the Saudi Bin laden Group for a limited lease
period of 25 years to build and operate, it is a
cluster of connected towers housing a five level
shopping mall with food courts at the base
topped by luxury hotel and apartment towers
with amenities like a hospital, prayer rooms,
parking lots, and helipads. At almost two
thousand feet, the central Clock Tower is seven
times the height of the minarets of the Grand
Mosque. It is the largest, and second‐tallest,
building in the world at a height of 601 meters.
Six smaller high‐rises of 200 meters surround it at
varying heights. True to its name, four colossal
clock faces are mounted near the top of the
tower. These clocks also hold the record for both
the largest and highest in the world. At night, the
clock faces are illuminated by one million LED
lights that transform the tower into a green and
white beacon. Writing is inscribed above each
clock, with the words “God is the Greatest” on
the north and south sides, while the Qur’anic
verses adorns the east and west sides. The spire
of the tower features a spherical observation
centre at its base. The spire is capped with a
shining mosaic gold crescent that weighs 35
metric tons. A number of cultural amenities are
present in the upper levels of the tower, including
a centre for lunar observation and a cosmology
museum. Since a great deal of residents and
guests in the tower perform prayers five times a
day, innovative solutions were provided in the
elevator systems that transport people in a
smooth and efficient manner. Group control
systems were implemented that adapt to the
7
travel patterns of passengers, intelligently
anticipating their general location and
destination. Using this technology, up to 75,000
people can exit all seven buildings Within
Minutes.
The Design had evolved over time since its
inception back in early 2000. The aspiration are
reflected as the towers final height rose from less
than 500 meters to over 600m. The Project was
revised to suit King Abdullah bin Abdul‐Aziz vision
after he ascended the throne in 2005. His vision
was to establish “Makkah Time” as an
international time reference. To introduce a
second time standard besides Greenwich Mean
Time so that Muslims in Berlin, London, New York
or Jakarta could now know exactly when g sun
Figure 5: Evolution of Abraj Al Bait Complex from early concept to final construction. 2015 Skyscraper Source Media.
600 M
500 M
400 M
300 M
Figure 6 Diagram indicating the heights of the Royal Clock Tower. 2015 Skyscraper Source Media
8
9 PEER, BASHARAT. "Modern Mecca." The New Yorker. June 26, 2012. Accessed June 29, 2105.
http://www.newyorker.com/magazine/2012/04/16/modern‐mecca.
rises in Makkah during the Ramadan, when
fasting can be broken after sunset or when the
five daily prayers are to be performed towards
Makkah and to synchronized the Muslim World
to seconds’ accuracy by the time zones, Makkah
marking the zero axis for calculation. He not only
envisioned is as a skyscraper but as a compass
and manifestation of faith. Much like the
ambition of the ottoman sultan Abdulhamid II
who on completion of twenty five years of his rule
commissioned a hundred clock towers across the
Ottoman Empire in 1901.9 One of the clebratory
clock tower were also a part of the grand mosque
under the ottoman auspices.
Figure 7 Summary inforgraphic.2015 AFP
9
The Clock Tower
Figure 9 :Bird's‐eye view of the Masjid al Haram Complex in 1910 a time it was the capital of the Velayet of Hejaz, Ottoman Empire. The commemoratory Clock tower could be seen in the centre. The Clock towers are synonymous with the town
centres in Europe. The Invention and its
conception during the Islamic golden age by Al
Jazari10, the 12th century polymath, inventor and
mechanical engineer who designed the First
10 Al‐Hassani, Salim. "Al‐Jazari: The Mechanical Genius." Muslim Heritage. Accessed June 27, 2015. http://muslimheritage.com/article/al‐jazari‐mechanical‐genius.
display clock much before the first one that
appeared in Europe only after 1288. It is almost
a standard to feature a clock on a building of
iconicity and of institutional importance. The
uncanny resemblance does clash with that of the
Westminster bell tower in London but there are
far more similar buildings of ranging architectural
styles. The Palace of Culture and Science in
Warsaw being next in height, to a modern
precedent in Allen‐Bradley Clock Tower,
Milwaukee. The language used to express the
intentions was used from an existing
architectural vocabulary of proven forms reviving
the Islamic legacy. Since the idea of the Clock
Tower was scaled up to suit the vision form a
modest size at the base of the complex to highest
tower in place of national coat of arms symbol.
The structure had been calculated, and the
weight could not exceed 82,000 tons with all
gears and clock dials. At the end of 2006 Rasch
was entrusted with this specific task to design
and realise this idea. Who by now had designed
Figure 8 The Main Clock Tower
10
the tent city in Mina and was instrumental in the
expansion of the Holy site and among host of
other projects.
Maintaining the minimum weight and maximum
load bearing capacity, the building engineers
devised a skeleton construction with composite
profiles comprising high tensile steel and
concrete. Four V‐shaped columns provide the
basic frame of the tower’s supporting structure.
Above the clock, the columns merge into a
conical steel truss that follows the contours of the
tower top and carries the forces directly from top
to bottom. A clock with 43 x 43 meter dials and
moving clock hands of 17 and 22 meters length
was not the only challenge. Its equivalent of
designing ten‐storey high clock faces with storm
proof installation at a height of 450 meter above
the ground. Turret clock manufacturer Perrot and
a builder specializing in open‐sea yacht
construction, would take up the challenge. The
Clock’s huge faces, hands and pediments are all
made of advanced composite materials which,
while extremely durable, need to be protected
from damaging UV rays. Extensive testing proved
that glass mosaic is very effective at reflecting UV
light and it serves as an excellent decorative
material. It was decided for these reasons to
furnish the faces of the Makkah Clock with
custom‐made glass tiling. With day and night
temperature variations of up to 70°C, the tiles
and adhesive had to be particularly resistant to
the effects of thermal expansion.
In order to meet the demands of the project,
which called for 46,000 sqm of mosaic, an
automated production system was established.
The extensive use of state of the art computer
software in this project allowed for the
prefabrication and preassembly of the composite
elements inclusive of mosaic tiling and lighting
devices. The amount of research and
optimization effort invested into the project can
be exemplified by the clock’s hands. In some
places they are built up using as many as 150
layers of carbon fibre laminate. It was through
the use of Finite Element Analysis (FEA) that the
team was able to verify the structural behaviour
of the clock hands down to the very smallest of
details. FEA also gave the team the invaluable
opportunity to assess the strength of these
purpose‐built composite materials.
11
Figure 10 A cross section of the Main Tower
Figure 11 Various Images depicting the architectural details
12
In order to allow for the maintenance of the
installed LEDs, the hands had to be hollow and
accessible via a concealed hatch in the clock face.
Structurally the hands are also notable for being
self‐bearing constructions, which has no
supporting internal frame and, much like the hull
of a boat, derive all their support and rigidity from
their outer shell alone. At a combined total of 12
tons, the carbon fibre hands require an
exceptionally strong and robust clock drive
consisting of high‐quality worm wheels, cogs and
shafts. The final design was a classic central drive
unit weighing 21 tons. It is the heaviest and the
largest clock drive in the world. As an
afterthought the interior space behind the clock
faces houses a cosmology centre and public
exhibition facilities. On four floors visitors are
information about the development and
construction of the clock tower, about the history
of Islamic time measurement as well as the
history of the Qur’an. The Cosmology Centre
highlights the significance of the moon in Islamic
religion and the crucial role it plays in establishing
the calendar. This certainly proposes it as new
icon for Makkah only after the Kaaba. The list of
superlatives of it being the second tall building in
the world with the largest clock etc. is a reason of
pride awe among national and believers alike.
The High visibility of the main tower and its
function as a modern interpretation of the
minaret. The Minaret along with the dome are
the most characteristics form of Islamic
architecture and its icons of faith. Light and sound
are beamed to deliver the call of prayer that can
be seen and head miles away. The “vanity height”
ratio is the least among the super tall as
compared to spire in Burj Khalifa.
The memory of a nomadic life is evident on the
roof, where a floor of tents has been designed by
Rasch for the royal family. The Upper Levels are
reserved for the royalty .
Figure 12 The Tensile Structures for the Mall.
13
The complex’s façades predominantly consists of
bisque precast element, with grey granite clad
columns and arches that accent the opal‐
coloured glass windows, in an attempt to
represent an Islamic design. The overall style is
imitated from design element found in the grand
mosque that are in turn a again a combination of
the Egyptian Fatimid, and the Syrian Umayyad
styles11. The Finer detail and ornamentation were
developed from scratch by Jay Bonner, a British
designer specializing in Islamic ornamentation.
Bonner had previously developed a floral style
that was pan‐Islamic and be recognizably Islamic
to all pilgrims from all areas of the world, yet
particular Muslim culture or epoch. His designs
11 Damluji, Salma Samar ed. The Architecture of the Holy Mosque Makkah. London: Hazar Publishing Limited, 1998.
ornament the sliding domes and the retractable
umbrellas designed by Rasch for the prophet’s
mosque in Medina. Bonner was consulted by
Rasch to design and ornament the clock face in
the same style. This Style was developed as an
attempt to unify the various Islamic styles
favoured by king Fahad for a substantial third
expansion. This post‐modern pastiche façade is
in contradiction with other postmodern values as
the real ethos are very modern signifying a
duality. The building design continues to play
with hybrids and the recombination of styles to
signify a unifying whole. Adapting a postmodern
style enabled the authority through imitation of
architectural styles that would reaffirm and
establish their authority. The tower has come to
represent a dichotomy, of high and low cultures
however the presence of star hotel isn’t new to
Makkah. They were always part of an essential
public amenity. Pilgrims prefer to stay in
proximity as it cut down long walks in a harsh
climate and allowing them to focus longer and
deeper in their worship.
14
Context, Climate and Culture
Makkah is one of the most compact regions in
Saudi Arabia and having a density of 75 person
living in a square kilometre area against a
national average of 28 persons per square
kilometre area12. This juxtaposition and invasion
of privacy due to these forced interactions are a
reaction for the privileged to retreat into a luxury
cocoon. The harsh climate of this non arable
valley aggravates the situation. Inability of the
guests to adapt to this extreme climate limits
passive solution and artificially controlled
environment are further advocated by narrow
comfort ranges of the modern urban populace.
12 Saudi Arabia 2010 estimated population density. Data source: http://sedac.ciesin.columbia.edu/gpw/
Nevertheless efficiency improvement are
definitely possible in architectural design.
Osama al‐Bar, the mayor of Mecca, is aware of
the criticisms of the city’s development, Al‐Bar
sees replacing the hills of Mecca with high towers
as adhering to a divine sense of proportion.
“When Allah showed the place for the Kaaba to
Abraham, he chose the lowest place in a valley,”
he said in an interview. “If you stood atop one of
those mountains and looked at the Kaaba, it
always seemed small from that distance. A tower
is very much like a mountain in its height. If you
look at the Kaaba from there, it seems the same
size as it would from a mountain. These are the
natural surroundings that Allah chose for his
house.” It is estimated that seventeen million
believers will visit Mecca in 2025. Revenue from
the pilgrimage already exceeds thirty billion
dollars... A hajji comes for the hajj, but he is
considered a guest of god, a tourist by the
authorities who take the onus to provide housing,
hotels, catering, services, and transportation as
per their needs. A square metre of land in the
area surrounding the Grand Mosque sells for up
to a hundred and thirty thousand dollars, twice as
much as Fifth Avenue real estate in Manhattan.
He says “If the developer has the land, which cost
him millions, shall I tell him to make it twenty
dollars a room?”
15
However Two‐star hotels and cheap apartments
are included in the plans for the new projects
such as Jabal Omar Towers. The key design
considerations for these Towers are speed of
accessibility (to al‐Haram mosque during prayers)
and views affordability (from each apartment
unit and hotel suite to al‐Haram) and
accommodation of a high population density for
13 T. R. Hamzah & Yeang .2015
the pilgrims for prayers Prior to this un organised
development in Misfalah, a neighbourhood south
of the mosque, where the streets are narrow and
dark, and the decades‐old, cheaply built
apartment blocks and hotels have views of each
other’s walls. Almost reminiscent of the derelict
neighbourhoods that its tenants originate.
T. R. Hamzah & Yeang, the Kuala Lumpur‐based
architectural firm that designed nine of the
towers, had calculated that the average height of
the five hills that once circled the Grand Mosque
area was almost fifteen hundred feet; the
architects fixed that height as the limit for their
high‐rises. The firm’s initial bid claimed that the
project would create “a new protective rim”
http://www.hamzahyeang.com/2013/09/jabal‐omar‐towers‐sustainable‐design/
around the mosque, and “avoid a rampant
disorganized skyline around the mosque.13
Makkah has always been a city of constant influx
and change .even the much revered edifice of a
billion plus faithful the Kaaba has been built and
rebuilt since the time it was first build by
Abraham almost 3800 years ago. A symbol of his
perfect faith in god, one of the five main pillars,
this annual ritual is compulsory for those who are
physically and financially able. To re‐establish and
affirm their faith. Hajj and Umrah (Lesser
Pilgrimage) have a set of prerequisites and rite
that are required for the completion. The Analogy
of hotels as a luxury box in a stadium by the critics
is invalid as the pilgrims need to be at different
Figure 13View of the Jabal Omar Towers project 2015 .http://www.hamzahyeang.com/
16
locations 14 ensuring there is an element of
interaction with others. The Luxury and the
allure of comfort attracts the pilgrims even
stronger for the pilgrimage and rites themselves
create opportunities and catalyses such
interactions. Almost attesting to the fact that hajj
and even more so the daily prayers are meant as
a ritual when all are equal and stand shoulder to
shoulder in submission to god. The Egalitarian
values practiced are at the cost of the poor and
likewise not at the cost of the wealthy, were they
are in discomfort to acknowledge the discomfort
of the disadvantaged, rather an ideal of empathy
is encouraged in practice. The Enforced Equality
is not equality and does not reflect the reality.
14 locations and rites of hajj https://en.wikipedia.org/?title=Hajj#/media/File:Hajj_locations_and_rites.png
There is imbalance across all system and as this
drives the system rather than a state of
equilibrium, nothing is ever equal or will ever be
equal but is the virtue that is highly regarded, and
that which the wealthy prefer over more
wealth. 15 It is a win –win situation for all the
member of the society as this ready creates
enough job to curtail the shortage and only to
stimulate the economy further. The Culture of
Hejaz has always been a melting pot of different
attitudes and cultures both rich and poor creating
a dynamic microcosm representative of Islam.
In a service based economy like that of mecca
which is based on providing services to the
1515 De Botton, Alain. "What Do the Rich Really Want?" Youtube.com. April 6, 2015. Accessed June 27, 2105. https://youtu.be/KcUkgR4Op00.
annual pilgrims. Commerce and
commercialization become an integral
indispensable part of the system and the visitor
Experience. This has been the state since pre
Islamic times. King Abdullah’s plans for Mecca
include a metro that will connect the city to the
pilgrim stops of Mina, Arafat, and Muzdalifah, a
high‐speed rail link between Makkah and Medina,
and a redevelopment of the central part of the
city into high‐rises and shopping malls. “We will
employ all kinds of modern technology to make
Mecca smarter than any other smart city,” Prince
Khalid al‐Faisal, the governor of the province of
Mecca, announced to the press during the hajj.16
16 http://www.newyorker.com/magazine/2012/04/16/modern‐mecca
17
Core Values The Kaaba has been rebuilt several times, and its
surroundings have been in an almost constant
state of change. The Kaaba is the transmission
point between the eternal and the temporal
world. By the ritual act of circumambulation
(Tawaf), one experiences bodily the essence of
the centre and participates in the harmonious
movement of the universe. This experience is of
an existential nature. Accordingly, the Kaaba is
not venerated as an idol or as a significant work
of art but as a source of strong spiritual energies
which emanate from the cosmic centre and
manifest the divine presence on earth. For this
reason, it is also called the "House of God".
Following an old Semitic tradition, it is wrapped
with a black cloth which protects its holiness and
prevents human beings from being exposed to
the unfiltered impact of the sacred
The Sanctity is placed in in the spiritual
understanding of what the physical structure
stand for, Unlike the Christian holy places, such as
St. Peter’s Basilica, at the Vatican, where the
sanctity of the physical past is paramount, the
Kaaba has undergone dramatic renovations,
often erasing earlier layers of history. If seen far
back enough the numerous layer of this ancient
city’s history have already been lost. If seen far
enough into the future only a fraction of the city
is yet realised. The Ultimate value is placed in the
understanding an intentions of action. It is for a
reason the pillar of hajj is optional unlike other
absolutely mandatory pillars. The Quran says that
each individual will be judged as per their
intentions and condition’s and blessings.
The Demolition of the historic sites in and
around the site displays the tendencies of high
modernism with an utter disregard to the
heritage and its role. Including geographical and
social contexts. Other than the state claim to
curb idolatry practices as per the Salafist
interpretations.
18
A deeper understand of the context, culture and
the values that shape the architecture of a
building, it is almost always more than what
meets the eye. The Functional Objectives of Abraj
Al bait were never questioned but like all art it did
instigated a reaction. However subjective might
the reaction about its beauty, will always be non‐
conclusive much like the theological arguments
that is literally based on. True to its post‐modern
demeanour and modernist intentions behind it,
embodies a duality of it being modernist and
17 Sahih Muslim 671.
postmodern at the same time. It demonstrates
situational and conceptual ironies its being a
tower dedicated in submission to god and the
guests at the house of god. Serving a duality of it
being an agency of personal pride for the royals
as well as it being an agency of service to the
public. Its juxtaposition is as stark as it can be as
per the prophetic tradition (Hadith)” the most
beloved of places to god are the mosques, and
the most hated places to Allah are the markets.
“ 17. It’s not the high tower that we are appalled
by, but the imposition of what it stands for;
opulence and mindless consumerism. We like our
monuments and clock towers and are in awe of
their grandeur only if they are dedicated to
something worthwhile that symbolises our
ambition and long term needs.
Conclusions