Middle East Architect | March 2013

NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC

MARCH 2013 / VOLUME 07 / ISSUE 03An ITP Business Publication

SUSPENDEDANIMATION

Sharjah Art Foundation

prepares to launch its stunning array

of galleries with spectacular lighting and inspiring vistas,

designed by GAJ

p2// FRONTArchitects appointed to work

on Saudi’s Kingdom City

p4// PEOPLEVeteran Steven Miller joins

global construction firm

p22// INTERVIEWNGS’s Nabil Sherif reveals the

secret to setting up in Dubai

ANALYSIS

Assessing the state of the Abu Dhabi market before Cityscape/p14

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MARCH | CONTENTS

www.designmena.com | 03.13 | MIDDLE EAST ARCHITECT 1

2FRONT

Top stories in the world of architecture, such as the

latest on KSA’s Kingdom City 4

6PROJECTS

A round up of the latest project news from MENA

and the rest of the world14THE BIG PICTUREThe stunning lighting design of a metro station in Hamburg, Germany20

22INTERVIEWMEA speaks to Nabil Sherif of NGS Architects about setting up a fi rm in Dubai32

SITE VISIT

60CULTUREA snapshot of funky furniture, books and other accessories in the market

40CASE STUDIESBahrain National Theatre, KEO’s Kuwait university and Dewan’s Basra project56

Exploring the galleries in GAJ’s recently completed


THE WORKA detailed reference

section covering all the best projects in the world

PEOPLEKey regional appointments, famous architect news and top quotes

MARCH 2013 VOLUME 7 ISSUE 03

64LAST WORD

Stephen Embley, Aukett Fitzoy Robinson, reveals

his favourite things

ANALYSISWhat is the state of the

capital’s real estate market in the lead up to Cityscape?

MIDDLE EAST ARCHITECT | 03.13 | www.designmena.com

FRONT | MARCH

2

UAE FIRM TO WORK ON KINGDOM CITY PLANSGAJ to support US-based Calthorpe Associates on Saudi’s $20bn mega project

Kingdom Holdings announced the appointment of two architecture fi rms to carry out masterplanning for its $20bn Kingdom City project in Jeddah: UAE-based GAJ as ur-ban architect and US fi rm Calthorpe Associates as lead masterplanner.

The 5.3 million m2 King-dom City development will

surround the world’s tall-est tower, the 1km-high Kingdom Tower.

The value of the contracts to the fi rms is

$1.6m (SR:6m), according to a statement issued to the Saudi

stock exchange.Kingdom Holding Co, which is

chaired by HRH Prince Alwaleed Bin Talal Bin Abdulaziz Alsaud, agreed a deal last year with contrac-tor Saudi Binladin Group which will see the contractor invest SR: 1.5bn in building the project in return for a 16.93% stake in the company developing it, Jeddah Economic Company (JEC). Kingdom Hold-ings retains a 33.35% stake in JEC,

while Abraar International also holds 33.35% and Jeddah business-man Abdulrahman Hassan Shar-batly has a stake of 16.67%.

At a recent meeting of investors, Prince Alwaleed said the tower is on “a solid strategic path”.

The tower will cost around $1.22bn (SR: 4.6bn) to build, according to Kingdom Holdings. Architects for the tower project, US-based Adrian Smith & Gordon Gill Architecture (AS + GG), were ap-pointed back in 2011 and a construc-tion licence was granted to build the tower in February 2012. Saudi Bauer Group won a $40.8m contract to carry out piling work for the tower in November.

Eng. Talal Al Maiman, chairman and CEO of Kingdom Real Estate Development Company (KRED), said: “The careful strategic planning has paid off and the execution of the greatest, tallest building project in the world for the next years to come has started in our beloved country Saudi Arabia. Our country deserves no less than such a project.”

32

TOP STORY

Age of Nabil Sherif,

founder of NGS (page 22)

1KMEXPECTED HEIGHT

OF KINGDOM TOWER

Kindom Tower forms the centerpiece of the project.Image: AS+GG.

FRONT | MARCH

MARCH | FRONT


Foster + Partners is part of a consor-tium set up by the European Space Agency (ESA) to explore the possi-bilities of building on the moon, with the aid of 3D printing technology.

The practice designed a lunar base to house four people, which can off er protection from meteorites, gamma radiation and high tempera-ture fl uctuations.

The base’s design was guided by the properties of 3D-printed lunar soil, with a 1.5 tonne building block produced as a demonstration.

ESA’s head of the project Laurent Pambaguian, said: “Terrestrial 3D printing technology has produced

Foster + Partners designs building for the moon

Gensler opens offi ce in Etihad TowersGlobal architecture giant Gensler last week opened its Abu Dhabi offi ce in Etihad Towers, inaugurated by the United States’ ambassador for the UAE, Michael Corbin.

To mark the occasion, all fi ve Etihad Towers were outlined in the Gensler’s red brand colour.

WEIRD PROJECT OF THE MONTH

DESIGNMENA.COM

DATASTREAM

Corbin, Abu-Sukheila and Hickey.

entire structures. Our team investigated if it could similarly be employed to build a lunar habitat.”

Addressing the challenges of transporting materials to the moon, the study investigates the use of lunar soil, known as regolith, as building matter.

During the event, Tareq Abu-Sukheila, managing director for Gensler Abu Dhabi, commented: “Although this fantastic offi ce space is new, Gensler has been delivering architecture, design and planning consultancy services in the Middle East for nearly 20 years.”

He continued: “It’s an exciting time to be in the Middle East and our fi rm is thrilled to be operating from this vibrant city, Abu Dhabi, the UAE’s capital. There’s a strong undercurrent in this market, and contrary to the fi nancial challenges felt elsewhere, herein lies opportu-nities untapped.”

ffi

Foster + Partners is working for ESA.

This month’s top stories from the online home of Middle East Architect• Aecom designs eco villa for Qatar• CID’s Hot List: 1-10• Doha’s Al Shaqab stadium picks up

global awards• Andy Warhol uncovered• 25 essential iPad apps for interior design

students• Construction begins on China’s $4bn

skyscraper by Terry Farrell

Danish fi rms Tredje Natur and PK3 have designed a series of artifi cial islands entitled ‘Blue Plan’ which would transform Copenhagen’s harbour into a recreational area.

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CITIES WITHMOST SKYSCRAPERSData: Emporis

1,100Capacity of

auditorium in Bahrain National Theatre (page 40)

50Units in Foster

+ Partners’ Latin scheme, The

Aleph (page 52)


FRONT | MARCH

4

Engineering and construction fi rm Shapoorji Pallonji has appointed architect Steven Miller as vice president business development. The move forms part of the fi rm’s growth plans for the MENA region.

Miller has over 49 years of experience in design management and construction administration for building and infra-structure, recognised as a specialist in urban design, hotel planning and residen-tial design.

Before taking up his position at Shapoorji Pallonji, Miller served as regional and managing director for inter-national architectural fi rms like Kohn Pederson Fox, Perkins Eastman and FX Fowle, as well as for Dubai-based Emaar.

“His innate ability to leverage a deep understanding of the issues that drive development, and the elements that make it successful, make him the perfect point man when liaising with clients from established and emerging markets,” com-mented Mohan Dass Saini, MD and CEO, Shapoorji Pallonji.

PEOPLE

Steven Miller joins Shapoorji Pallonji

Van Berkel becomes AIA Honorary Fellow

BIM...BIM...BIM. Is it going to happen in the Middle East, or are we going to keep asking the same questions like ‘How much is it going to cost?’”DR OZAN KOSEOGLU, School of the Built Environment, Heriot-Watt University, Dubai

Everyone knows that concrete will crack - it’s a fundamental

law of civil engineering.”

BARRY JACKSON, technical director of

concrete repair fi rm Tradeways

Architect Miller hired by construction fi rm.

A couple of years ago there was a mindset: if it’s worn, rip it down. Now everybody’s starting to repair.”CHRIS HILL, division manager of Structural

60 SECOND INTERVIEWPHIL MCCOWEN,GENERAL MANAGER,TYCO FIRE PROTECTION PRODUCTS MIDDLE EAST

What are the common mis-takes in the region when it comes to fi re protection? Poor design and installation of systems as well as the use of equipment that carries no international approvals. We have come across several examples that would fail to adequately protect a build-ing and its occupants in an emergency situation.Are there certain building materials or designs that should be avoided? Flammable building materials is a topic high on the agenda in the Middle East. Put simply, there should be a ban on the use of these materials due to the signifi cant fi re risk they pose to occupants.

Van Berkel is behind Dutch fi rm UNStudio.

The Jury of the American Institute of Architecture elected Ben van Berkel of Dutch-based UN Studio as Honorary Fel-low in Denver, USA.

Developed as an international coun-terpart to the Fellowship programme, the Honorary fellowship is awarded to architects of esteemed character with distinguished achievements who are not U.S. citizens or residents.

Van Berkel has also been recently awarded the Kenzo Tange Visiting Profes-sor’s Chair at Harvard University Gradu-ate School of Design, where he is currently leading a series of studios.

As co-founder of UN Studio, van Berkel has completed a number of projects in the U.S. including the New Amsterdam Plein & Pavillion in Battery Park, the Collectors Loft in New York City and the Villa NM in Upstate New York.

UN Studio also received 2nd place in the competition for the New Business School for Columbia University and is a fi nalist for LA Union Station.

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FRONT | MARCH

6

3DUBAIDamac launches Fendi-branded towersDubai-based developer Damac launched two projects in Dubai and Riyadh, worth over $550m, in part-nership with luxury brand Fendi. The company will build a 150m-high tower opposite the Kingdom Tower in Riyadh branded as Damac Esclu-siva Luxury Serviced Apartments as well as taking the top 42 fl oors of a tower in Dubai Marina branded as Damac Residenze (pictured). Both are set to complete in 2016.

1

MENA PROJECT SNAPSHOT

2 3

1SAUDI ARABIAAecom lands Jeddahcity planning contractAecom has been awarded a US$10m contract for city-planning services in Jeddah, Saudi Arabia. The con-tract involves updating the Jeddah strategic plan and preparing sub-regional, structural and local plans for the area. The Jeddah Municipal-ity, representing the Ministry of Municipal & Rural Aff airs of Saudi Arabia, awarded Aecom the contract for multiple levels of city-planning services that will reshape Jeddah.

2QATAR Doha’s North Gate mall wins design awardThe $290m North Gate shopping mall project in Doha, currently under construction on Al Shamal North Road, and represented by Qatari company Equinox SPC, has won the ‘Best Retail Architecture 2012 in Arabia’ award at the Arabian Property Awards 2012. North Gate, located on a 200,000m2 plot, off ers close to 100,000m2 of leasable space for retail and a further 45,000m2 of offi ce space.

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FRONT | MARCH

8

3

2

3UNNAMED LOCATION Flying saucer museum proposed for ArabiaMexican architect Fernando Rome-ro has unveiled his fi rm’s proposal for a space-age 3,800m2 cultural in-stitution set in an unnamed Arabian desert location, which will showcase photography and photographic equipment. The structure of the PH museum functions as a large canopy that is used to shade the outdoor areas, complemented by water fea-tures and vegetation. It is inspired by the mechanics of a camera.

2SAUDI ARABIAN.Designers completes KSA conference centreLebanon-based N.Designers has completed the 7,000m2 Alkhozama Banqueting & Conference Centre in Riyahdh, using high-end European fi ttings. The banqueting and confer-ence centre comprises three fl oors and two underground levels: an offi ce block, and a huge 4,000m2 open space ballroom which forms the project’s centerpiece. A guest block includes suites, a spa, salons and related services.

1DUBAINakheel to start work on $900m Palm projectsDeveloper Nakheel is to start work on $900m worth of projects on its Palm Jumeirah development: a $680.7m shopping mall and $217.8m entertainment complex The Point. The projects were announced following a visit to the company’s headquarters by Dubai ruler HH Sheikh Mohammed bin Rashid Al Maktoum to review the fi rm’s invest-ment projects and approve the two new schemes for immediate launch.

1

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FRONT | MARCH

10

1FINLAND‘Ripped book’ library unveiled for HelsinkiCalifornia-based fi rm Dinkoff Archi-tects has revealed its design for the central library in Helsinki, Finland. Horizontal stripes, exposed on the facades, evoke running text that updates the viewer on current ‘intel-lectual’ events. The entrances to the building are on the east and west sides where an imaginary ‘binding’ allows the ‘pages’ to be fl ipped. The upper pages on the north side are ‘ripped’ along their lines of text.

1

GLOBAL PROJECT SNAPSHOT

2 3

2CHINAAtkins and Buro Happold to work on Xiqu CentreAtkins is to develop the below-ground elements for a Chinese opera facility designed for the preservation and development of this traditional art form in Hong Kong. The fi rm is working as sub-consultant to struc-tural engineer Buro Happold, which will carry out the remainder of the engineering, and Bing Thom Archi-tects and Ronald Lu & Partners. The Xiqu Centre is a gateway building for a planned cultural district.

3UKThe Shard offi cially named Europe’s tallest London’s The Shard offi cially acquired the title of Europe’s tallest building with the opening of the viewing platform on February 1. De-signed by Italian Pritzker Prize-win-ner Renzo Piano, the building now satisfi es the criteria for a completed building, as per the guidelines from the Council on Tall Buildings and Urban Habitat. Standing at 310m, The Shard was inaugurated in July after the completion of its exterior.


FRONT | MARCH

12

THE BIG PICTUREGOING UNDERGROUNDCaptured by photographer Markus Tollhopf, the stunning subway station HafenCity University in Hamburg was designed by Munich-based Raupach Architects. The station contains 12 LED lights ‘Light Containers’ hovering above the platform, by pfarré lighting design and D-Light Vision. HafenCity Hamburg is one of the largest inner-city development projects in Europe, covering a total area of 157 ha.

MARCH | FRONT


MIDDLE EAST ARCHITECT | 03.13 | www.designmena.com14

NEWS ANALYSIS | CITYSCAPE ABU DHABI

ANALYSIS

CAPITAL GAINWill the Abu Dhabi market be in a healthy state at the time of itsmost important real estate show? MEA looks at the latest market reports and project launches while the emirate prepares for the

Cityscape Abu Dhabi exhibition

During the lead up to Cityscape Abu Dhabi, the UAE capital has been overshadowed by its fl ashier neigh-bour in terms of major

project launches. These include the multi-billion dollar Mohammed Bin Rashid City containing 100 hotels and the world’s largest mall, and Meraas’ $1.6bn Bluewaters islands, set to contain the world’s largest ferris wheel.

However, the capital is by no means devoid of headline grabbing launches. The most high profi le example is TDIC’s The District on Saadiyat Island, a vast retail scheme linking the fl agship museum proj-ects. Another leisure scheme that is in the spotlight is Fairmont Abu Dhabi, a 39-storey 563-room resort designed by Dewan and awarded to contractor Arabtec in February.

Abu Dhabi developers will surely be unveiling more projects at the up-coming Cityscape Abu Dhabi, taking place from 16-18 April at the Abu Dhabi National Exhibition Centre. Exhibiting architecture fi rms will also showcase their latest projects while networking with prospective clients. For developers and archi-tects, a key topic will be the state of the Abu Dhabi market.

According to Alan Robertson, CEO of Jones Lang LaSalle MENA, Abu Dhabi is still lagging behind Dubai in terms of recovery. He commented: “Abu Dhabi remains 18 to 24 months behind Dubai and the market is not expected to experience an upturn in 2013. The foundations are however being laid for a recovery from 2014, with a number of major infrastructure projects scheduled to start later this year.”

In its report, 2013 Top Trends for UAE Real Estate, Jones Lang LaSalle pointed out that Abu Dhabi is leading the UAE’s sustainability agenda. “With continued progress in 2012, sustainability is expected to move into even greater focus in 2013. With Masdar and Estidama regulations, Abu Dhabi will continue to take the lead,” the report added.

It continued: “Most sustainability initiatives in 2013 are likely to be micro and small scale as there is a general reluctance among owners to accept green leases. Evidence from overseas suggests sustainability is unlikely to be fully embraced until either government regulations force change or there is shift in local mar-ket perceptions about the fi nancial viability of green buildings.”

Recent examples of green build-ings include the Siemens’ Abu Dhabi

Headquarters in Masdar City, which is nearing completion. Designed by Sheppard Robson and set for LEED Platinum status, the scheme won two MEA awards (Best Sustainable and Best Commercial project).

Another high profi le ‘green’ building that has taken shape in Abu Dhabi is Al Bahar Towers. The Aedas-designed project won the inaugural Innovation Award from the Council on Tall Buildings and Urban Habitat for its computer-con-trolled mashrabiya which responds to the sun and limits solar gain.

A number of offi ce schemes have been recently completed or unveiled, many of which are located on Al Maryah Island, the capital’s new CBD. Last year saw signifi cant delivery on Sowwah Square by Goettsch Partners, which was highly commended as MEA’s Best Overall Project. Launches on the island include Gensler’s 31-storey National Bank of Abu Dhabi and Goettsch Partners’ Al Hilal Bank tower.

However, a report from CBRE warned that the market is in danger of oversupply. It stated: “Abu Dhabi’s offi ce inventory continues to rise un-abated, although demand for offi ce space remains largely passive.

“Over the next three years, as much as 1.5 million m2 of new offi ce

Sowwah Square

is a major

commercial

delivery.


CITYSCAPE ABU DHABI | NEWS ANALYSIS


NEWS ANALYSIS | CITYSCAPE ABU DHABI

and AED330bn stimulus package in Abu Dhabi will stimulate demand and market performance.”

The Abu Dhabi Depart-ment of Economic Development has re-ported GDP growth of around 3.9% during 2012, and an average forecast of 5.7% for the period 2013 – 2016.

Oil-related revenues remain the key contributor to the emirate’s economy, although the non-oil sector is expected to see stronger growth in the medium term, rising by an average of 6.5% annually over the next four years, according to CBRE.

Meanwhile government ex-penditure in physical and social infrastructure will continue to fuel economic activity and ultimately help to drive short to medium term growth in the capital.

1.5MMETRES2

OFFICE SPACEDELIVERY BY 2016

space could be delivered to the mar-ket. Given current demand levels, this is expected to result in rising vacancy rates.

“Both prime and secondary loca-tions are suff ering from a reduced number of tenant requirements, resulting in an increasingly competi-tive environment for the capital’s landlords,” it added.

CBRE also noted that the govern-ment will be a “major player” in infl uencing the real estate market throughout the UAE in 2013. The report added: “Initiatives such as the UAE Central Bank mortgage cap, approval of the Dubai Urban Planning Framework and consoli-dation of real estate players in Abu Dhabi will better regulate or tighten control on market conditions.

It continued: “While initiatives such as regulation on housing allow-ances for Abu Dhabi government employees, the announcement of major government backed projects

Gensler released

images of a

31-storey tower on

Al Maryah island.

Siemens’ Masdar City HQ won

praise for its sustainabilty.

The District was recently

revealed by TDIC.


CITYSCAPE ABU DHABI | NEWS ANALYSIS

Chest of Drawers in Acrylux

This economic growth may have contributed to an increase in pre-mium class residential developments, yet this also refl ects the “limited availability of quality residential properties in the Abu Dhabi market” according to CBRE.

The report continued: “Recent rental growth at selected prime devel-opments appears to indicate a current gap in the market for top quality, well managed properties.

“The imminent entry of numerous apartment schemes in established and newly emerging masterplanned com-munities will see a highly fragmented marketplace develop over the next 12 months. Location and project specifi c attributes are already serving to cre-ate a distinct two-tier marketplace that will see further disparities arise in the coming quarters.”

It remains to be seen whether the projects unveiled at next month’s Cityscape Abu Dhabi will assuage or accentuate this disparity.

“The foundations are however being laid for a recovery from 2014, with a

number of major infrastructure projects scheduled to start later this year.

Alan Robertson, CEO, Jones Lang LaSalle MENA


COMMENT | EDITOR’S LETTER

18

By studying old maps and plans, with irregular courtyards and alleyways, the team created an authentic feel rather than a Disney-esque aesthetic that is sometime found in the region.”

EDITOR’S LETTER

TRAIL BLAZERHow the Sharjah Art Foundation is astandard bearer for urban renewal

GOT A

COMMENT?

If you have any

comments to

make on this

month’s issue,

please e-mail

oliver.

ephgrave

@itp.com

The Sharjah Art Foundation off ers glimpses into the

emirate’s heritage.

This month I visited Shar-jah for only the second time in my fi ve years in the UAE. Like many

western experts it seems, I have not journeyed to the conservative emir-ate for leisure purposes, despite it having more museums and cultural attractions than other areas.

The emirate’s collection has now been augmented by the recently completed Sharjah Art Founda-tion, the subject of this month’s cover story. Designed by GAJ, the complex will take centre stage from March 13, with the emirate’s Bien-nial taking place in its grounds.

Although the complex was a little hard to fi nd, tucked away in

unmarked alleyways behind the Corniche, it was certainly a delight to explore.

There’s a lot of talk about the correct approach for integrating heritage projects and I feel that this complex sets the benchmark for the Gulf region.

It’s sympathetic to the history of the area, yet brave in its approach. The shells of historic buildings are reused in combination with new structures which are harmonious in terms of scale and materials. By studying old maps and plans, with irregular courtyards and alleyways, the team created an authentic feel rather than a Disney-esque aesthetic that is sometime found in the region.

Additionally, and crucially, it serves a purpose. It is not a static showpiece; SAF is a functioning area that will hopefully attract visi-tors who have a passionate interest in art, as well as serving the needs of local artists and artisans.

I would compare the layout and scale of the project to Bastikiya in Dubai, but would argue that Sharjah’s project is even more intriguing as an urban renewal project. Dubai’s historic district is undoubtedly beau-tiful, but it is often lacking in activity and remains for me, under-exploited.

Sharjah’s approach of building a top rate gallery seems to be a mas-terstroke. The facilities are there; it’s success will ultimately come down to the quality of the art work on show and the willingness of people to make the trip.

Perhaps one issue, architecturally, will be navigation through the spaces - the network of alleys and absence of clear landmarks may result in a few lost visitors, especially when the Biennial gets in full swing. As the cli-ent told me, signage will be key both inside the site and from the Corniche. I have to admit that I struggled to fi nd the site, although my navigational skills are questionable.

Nevertheless, the existence of such a project in the UAE is refresh-ing to see. The client, architect and the emirate’s rulers should be applauded for conceiving and delivering the scheme. It’s certainly a good reason to make the trip to the overlooked emirate of Sharjah.


Many Middle East cities are now at an interesting point where the paradigm

for development is shifting from expansion to renewal. This needs to be accompanied by a more inclusive defi nition of context, capturing not only the historically important but also that which is pre-existing.

The absence of contextual rela-tionships in many rapidly developed districts provokes us to imagine how straight-forward urban values, such as a walkable public realm and a sense of place, can be retro-fi tted.

There is still so much latent potential. Old and new is stitched together in Beirut’s Solidere, Dubai Creek continues to thrive on its

Too many contemporary masterplans are self-absorbed in their vision for the interiors of their sites that they fail to address the often much more signifi cant issues pertaining to their edges.”

OPINION

frenetic energy and Msheireb Downtown Doha looks to craft its own contextual response in an historic area.

The creation of a masterplan remains one of the most impor-tant tools for regeneration and for defi ning the terms of relationships between old and new.

Firstly, a masterplan should exploit the potential of the pre-exist-ing. The history and topography of a site are important, not only because they help explain the nature of its past but, because they can inform the shape of its future.

Crucially, in a masterplan the focus must be as much on the space between buildings as it is on the buildings themselves.

Masterplans must also provide a clear hierarchy. Cities are easier to use when a hierarchy defi nes and discloses the relative signifi cance of their parts. Furthermore, the making – or re-making – of connec-tions is essential to establishing a continuum between the existing city and the new.

If a masterplan is to be realised it must propose buildings that people want to build today. Structures that are inappropriate or contrived will deter investment rather than attract it. In the absence of an established context, a masterplan off ers a virtual setting within which indi-vidual buildings can be designed and against which they can be judged.

Cities are not static and build-ings change over time. A masterplan which ignores this may not only become an obstacle to change but may, at some stage, become an agent of decline.

The masterplan needs to create complex spaces with simple build-ings. It is much easier to achieve complexity and richness within a masterplan by manipulating the relationships between buildings than by forcing the shape and confi gura-tion of the buildings themselves.

Too many contemporary mas-terplans are self-absorbed in their vision for the interiors of their sites that they fail to address the often much more signifi cant issues per-taining to their edges.

Lastly, a masterplan is not a rigid proposition. It must be expected to evolve as it is implemented.

What are the fundamentals for creatingan eff ective urban masterplan?

CITY SPEAK

Simon

Gathercole

is a director

for Allies and

Morrison

Architects

Msheireb Downtown Doha.

COMMENT | SIMON GATHERCOLE

INTERVIEW | NABIL SHERIF

22 MIDDLE EAST ARCHITECT | 03.13 | www.designmena.com

Many people aspire to set up their own busi-ness and Nabil Sherif is someone that is living the dream, having created UAE-based NGS Architects in 2009 at the sprightly age of 28. After welcoming MEA into his offi ce in Jumeirah Lakes Towers,

the now 32-year-old Sherif speaks frankly about the joys and woes of being the boss of a fl edgling design company.

“Overall, what we have achieved has happened at a slow pace. It’s hard work,” he remarks. “It’s something I have created from nothing. I haven’t been injected by fi nance — there are no bank loans. There are times when it’s hard and there are times when you are happy. It’s an up and down thing.”

Born to an Egyptian father and a Portuguese mother, Sherif’s adolescence was spent in the UK and Egypt, before he opted to study architecture and design in the University of Westminster, London. Before attaining part three in the UK architecture programme, he worked for a number of fi rms including Sheppard Robson, HOK Sports, Portfurious and Foster + Partners.

Commenting on his stint at the latter fi rm he said: “At Foster + Partners I worked on some very interesting projects, such as a yacht design scheme and a skyscraper in Dubai. The building never went ahead, but it was the fi rst time I got linked to this region. I was there for around six months, until I did part three.”

Sherif subsequently joined RHWL and stayed for a number of years, primarily working on commercial and hospitality schemes in London. Like most fi rms around the world, the fi nancial crisis forced redundancies in Sherif’s team, prompting him to come up with an ambitious plan. He continues: “I went to Egypt and sat down with my family and said I’m thinking of doing my own thing. I read somewhere that companies set up during a recession

because things are cheaper, but you go up with the wave when things get better.

“People were saying, ‘Nabil, give it more time’. I thought I knew 60-70% of the experiences in architecture. The rest I’d have to learn the hard way. I just thought of doing it. So I sold my car and used the money to come out here.”

After arriving in the UAE, Sherif bought a trade licence from Ras Al Khaimah as it was “the cheapest option at the time” and set up an offi ce in his living room.

“It’s something I wouldn’t wish on anyone,” he adds. “After a year, I found a way to set up in JLT, Dubai.

“I fi nd Dubai to be a good mix between the Middle East and the UK. In the UK and Egypt I felt like a foreigner — I had an identity crisis. In Dubai we are all in the same boat — we are all trying to settle and fi nd a life.

“I thought it was going to be like another city you can break into. But it had a culture, with people that have been here for 20-30 years who had relationships. You weren’t just going to come from outside and get lots of business by yourself. When I had my licence I bought a brand spanking new computer. I sat down and then thought, ‘what do I do now?’ Thankfully I got my fi rst client two weeks later, which was an interior design project in Mon-treal, Canada.”

He continued: “We have reached a stage now where we are in talks with a few high-profi le clients from abroad to do a couple of villas on the Palm, and we’re doing several creative offi ce spaces for marketing companies. We have labelled ourselves as the ‘creative’ architectural practice.

It is this ‘creative’ element that is fundamental to Sherif. He elaborates: “If I’m paid to design a square block, and I ask the cli-ent ‘is there any design element, where can I put my stamp on it?’

Oliver Ephgrave meets Nabil Sherif, founder of NGS Architects, todiscover the realities of setting up an architectural practice in Dubai

SMART START

INTERVIEW

NABIL SHERIF | INTERVIEW

23www.designmena.com | 03.13 | MIDDLE EAST ARCHITECT



and he says ‘no, it is restricted,’ I’m not inclined to work with that client. I’m more inclined to work with someone that appreciates creativity and wants me to create the brief.”

He concedes that it’s sometime hard for an architect to think as a businessman. “When you are an architect you are behind a computer — you aren’t meeting the client, or knowing what the charges are — you aren’t a business man. Still today I don’t think I’m a business man, but I am trying to get there.

“When you are a businessman opening up an architectural practice, you employ architects. But an architect setting up a practice is more inclined to be emotionally attached to projects and not to charge the full fees, as he may feel that the project would benefi t his portfolio. That is more valuable than money. That is the creative mind. These are the things you are trying to come to terms with.”

Describing his own personal style, Sherif comments: “I am Arab. I like Islamic architecture and I like the calligraphy and the art — all of these combined. My architecture, if I had it my way, would be Islamic with old and new — showing historic Islamic

architecture with a contemporary touch. I like to work with straight lines and squares. I’m not too much of a roundy person. Everything is clean and square, even to my logo. I like things that are striking, things that make you think, things that tell a story.

“I’m not the best; I consider myself above average but I enjoy what I do. I’m still fi nding myself in architecture in terms of skill and design. At the end of the day, it’s important to be paid for something you enjoy doing. We’re looking for that middle ground where we can create something but get paid for it.”

He reiterates that the company has struggled at times. “To be honest, the beginning of 2012 was a bit disastrous — projects were put on hold, or cancelled because the client couldn’t agree contracts or terms. When I approached my fi rst client, I didn’t have anything. They said what have you done for NGS?

“I didn’t have a portfolio but I knew myself I could do it. They said, ‘Nabil you look young, I don’t want to risk my two million dirhams with you’. If I put myself in their situation, I wouldn’t do it. If I had some kid that has a bit of confi dence I would say, ‘hope it works out with you, but not with me’.

Sherif continues: “When you run your own business, your name and relation-ships are gold. Word spreads. You have to change your personality for the better and adapt to it. If you’re a hothead then you won’t be able to speak to clients or get business. But you learn how to be diplomatic and not take things to heart.

“When you are negotiating contracts it’s an art — there’s a lot of psychology. Anothing thing that keeps you going is that a lot of architects, in the UK or else-where, have failed in business but their architecture is amazing. A lot of busi-nesses buy out architectural practices.”

Yet throughout the conversation, it is clear that Sherif has high ambitions for NGS. He adds: “The idea is to be a major player in the Middle East region. Those are the things that keep me going. I think I’ve been here for a few years and I’m not where I want to be. But then you hear stories. There are many architects that set up their own practice and their fi rst project came four or fi ve years later. Tadao Ando was a boxer before he became an architect. It can happen to you at any time.”

My architecture would be Islamic with old and new — showing historic Islamic architecture with a contemporary touch. I like to work with straight lines and squares. I’m not too much of a roundy person.”

Sherif fi rst set up NGS Architects in 2009 in Ras Al Khaimah.

NABIL SHERIF | INTERVIEW

25www.designmena.com | 03.13 | MIDDLE EAST ARCHITECT

SLICE BUILDING, DUBAIIn this commercial scheme,

horizontal planes act both

as a means to reduce sun

glare in the offi ce space

and give the building a

streamline eff ect. The offi ce

comprises a double height

entrance lobby with a con-

necting bridge to both parts

of the dissected building,

using Islamic geometry.

ISLAMIC HOUSE, DUBAIThis unbuilt project for

a private client in Dubai

combines Islamic art and

architecture to create a luxu-

rious living space. Tranquil

water features, geometric

patterns and mosaics are all

used to give a modern twist

on Islamic design.

PORTFOLIO:NGS Architects



FRED PERRY STORE, DUBAIFred Perry wanted to achieve

a look that was in keeping

with their English Heritage

and brand image. In its

role a design/sustainable

consultant, NGS provided

reclaimed Barnstock brick-

tiles to provide a rustic look

that aligns with the Fred

Perry brand.

PIZZA EXPRESS, JLT, DUBAI For the fl agship Pizza

Express in the Mövenpick

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Towers, NGS Architects,

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design together.

28

One of the many tranquil courtyard spaces outside the galleries.

SHARJAH ART FOUNDATION | SITE VISIT


Oliver Ephgrave explores the alleyways and courtyards

of the Sharjah Art Foundation, a GAJ-designed project

which is preparing for its grand launch at the Sharjah Biennial

GEMHIDDEN


SITE VISIT | SHARJAH ART FOUNDATION

30

like layout was strictly informed by old maps. “All the footprints are from aerial maps and urban plans - we kept the alleyways and courtyards. There was a lot of po-rosity and we tried to keep that. We worked more with the architectural expression.

“This alley existed like this, that's why is it's not straight. It's at least accurate to one layer of history. Many of these buildings were ruins but we kept about six enclosures as traces of the past. Artists love them for site specifi c installations. However, they are made from coral, which is fragile, and are not suitable for exhibitions or habitation.

She continues: “We chose GAJ to do the architectural design , without them this would not have

The complex

is linked at

roof level by

a network of

bridges.

ucked away in the historic Corniche area is the newly

completed complex for Sharjah Art Foundation, a collection of gallery spaces that will host the emirate's Biennial from March 13 2013. With its maze of al-leyways and courtyards,

the area feels similar to Bastakiya in Dubai, but with a contemporary edge thanks to the white rendered walls and slit windows.

“We are working on proper signage so people like you don't get lost. This is always the problem here,” says Mona El Mousfy, senior architect and client representative for Sharjah Art Foundation (SAF).

She explains that the warren-

been possible. But we [Sharjah Arts Foundation] were key in the conceptual and schematic design. It was a close relationship.” El Mousfy adds that the SAF team also in-cluded Hassan Ali Al Jidah, opera-tions manager and technical client representative, as well as Sharmeen Syed, architect and researcher.

Around 30 sub-contractors worked on various packages of the construction, with MEP and structural design provided by URS/Scott Wilson. The historic structures are augmented by new construction, with simple white-plastered walls, and a network of bridges connecting the buildings at roof level.

The building heights were initial-ly a bone of contention according to

Not everyonewas happy with the idea, but when they

saw it they were convinced. They feel it is their heritage but it has been given a new

life. The new life has come from a new need.”

Mona El Mousfy,


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SITE VISIT

Paul Crawford, senior architect for GAJ. “There was a bit of reluctance that some of the buildings are a little bit higher than the existing fabric, but due to the setbacks from the ground to the double volume spaces it's worked out OK - it's not really noticeable,” he remarks.

El Mousfy leads the tour into the entrance area, or “social hub” as she calls it. The large courtyard has a slidable canopy for shading, while the glass facade can also be retracted. “We can transform it into an outdoor social space - the gallery will spill into the courtyard so we can have events,” she comments.

The internal space contains a “memory wall” made from coral stone which breaks up the plain white areas. “It's the only interior space that has this type of wall - the stones were taken from old stock from the site. We tried to establish a relationship without destroying the introverted nature of the architec-ture,” adds El Mousfy.

Other coral walls can be found in the external areas. Crawford says: “We did so many mock ups for the coral walls. We looked at four or fi ve diff erent orientations, diff erent materials - herringbone or brick layout - and the closeness and size of the blocks. It's really the addition of the niches that adds the modern twists.” El Mousfy adds that these niches, complete with sockets for laptops, are designed for visitors to sit on and take a break.

She points out that each alleyway culminates in a slit window into one of the gallery spaces. “These give visitors a hint of the outside. You orientate yourself with the urban fabric coming into the interiors. Every line outside is carried inside.”

Walking around the various gal-lery spaces is certainly an experi-ence. MEA is guided through spaces that reach 6m in height, for large hanging installations, while other volumes are far more intimate.

A suspended ceiling in one gallery creates a diff used light eff ect.

Natural light is kept to the perimeters.



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“We have to have a variety. For visitors it is an experience and for artists it becomes a wider palette to choose from. I've been working with Sharjah Art Foundation since 2005 so I know the needs of the artists.”

A particularly dramatic gal-lery contains a skylight partially concealed by a suspended ceil-ing, which produces an ethereal diff used lighting eff ect. “This is a colder, softer light - it works well for art works that are very delicate,” remarks El Mousfy.

Crawford adds: “The skylights were an alternative to patching the elevations full of windows. Aside from the skylights, the natural lighting was kept to the perimeter. Light studies were done at an early stage to assure the client that there wouldn't be direct exposure.”

He continues: “The fi re system was quite complicated - we went

One gallery features a

6m-high atrium.



for a nitrogen based system that's waterless so it doesn't damage the contents. I believe it's one of a handful of projects in the region that uses this system.”

The largest volume is a dramatic, industrial-looking space known as Building P. Crawford comments: “Building P is my favourite inter-nally. You don't get the impression

of structural steelwork from outside - it's more of a

surprise. It was the odd one out. The client was a little bit hesitant at the beginning but they've warmed to it.”

El Mousfy adds: “I saw this is as a fl exible

space - you can slide the partitions in and out. We could

have made the ceiling all white,

but to cover it with plaster would not really have worked with the structure.”

The tour moves up to the roof level; each building's roof is acces-sible through a network of bridges, which El Mousfy refers to as the “grand fi nale”.

She continues: “In traditional architecture, people used to use the rooftop, but in the 60s they started using AC and put the air handling units on the top, so the roofspace became unused. Here, we created a sophisticated system to release the roof from any equipment and MEP. All the MEP is underground. The roof is a now a promenade and you can walk from building to building and relate yourself to urban layers in the city. Look, you even see the water from here.”

100NUMBER OF ARTISTS TO EXHIBIT AT THE SHARJAH BIENNIAL

Sharjah's historic heart is constantly visible.


SITE VISIT | SHARJAH ART FOUNDATION

36

The buildingslook pretty simple, with not much to them, but the amount of MEP that's below usis huge.”Paul Crawford,

senior architect for GAJ

Coral walls sit next to white-washed facades.



Yet the implementation of un-derground MEP was no easy task. Crawford elaborates: “The biggest challenge for GAJ was the integra-tion and coordination of the MEP. The buildings look pretty simple, with not much to them, but the amount of MEP that's below us is huge. We had to get that all concealed and accessible, and as respectful as possible to the heart of Sharjah.”

El Mousfy reiterates that the project is extremely sensitive due to the integration and adaptation of heritage structures in a historic area. “We have an open leadership in Sharjah. There were a lot of discus-sions - this was a reinterpretation of heritage. It didn't happen overnight.

“Not everyone was happy with the idea, but they were when they saw it. They feel it is their heritage but it has been given a new life. The new life has come from a new need.”

She reveals that the ruler of Shar-jah visited the site and expressed a dislike for the storm water drains. Thankfully, GAJ was able to come up with a solution. “The existing storm water drains were not discrete enough. We are putting hidden slot drains into the expansion joints. Hopefully it will be a neat solution,” remarks Crawford.

When questioned over the impor-tant of the scheme to the emirate of Sharjah, El Mousfy replies: “Time will tell. If the access is improved then for sure we will have lots of visi-tors. It's the fi rst time that heritage has been interpreted in this way. The reaction in the last month has been very positive, from artists and visi-tors, both local and international.”

At the time of MEA's visit, three weeks before the Biennial, the site was busy with workers yet no art works were on display. The quality of the work remains to be seen, but judging by the urban environment and gallery spaces, this gem of a proj-ect is certain to encourage arty types to fl ock to Sharjah.

The network of alleys

encourages exploration.

GAJ produced several mock-ups to get the

feel right for the coral walls.

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CASE STUDY

THE PROJECT Bahrain’s fi rst national theatre

opened on 12 November 2012 to coincide with the king’s birthday. It contains a 1,001-seat auditorium and a 150-seat fl exible auditorium and exhibition area. The expansive glazing involved an innovative curtain wall system that was fully supported by glass.

With overall control of the entire project, Paris-based AS. Archi-tecture-Studio appointed Atkins in 2009 to collaborate on detailed architectural design, including the total external envelope, along with site-wide supervision.

The main contractor was Cybroc, with MEP services provided by EMCO WLL.

BAHRAIN NATIONAL THEATREArchitect: AS.Architecture-Studio Detailed design: AtkinsLocation: Manama, Bahrain


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National Museum on the Al Fateh Corniche in Manama, it will form part of a ribbon of cultural buildings, stretching from the National Museum to the Bahrain Library and the Al Fateh Grand Mosque. The sur-rounding lagoon was an existing feature that was built into and topped up with water to create the front promenade.

The all-glass lobby gives unob-structed views over the lagoon, while the heavier solid stone-clad ancillary facilities give the theatre a striking textural contrast.

1,001 NUMBER OF SEATS

IN AUDITORIUM


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According to AS. Architecture-Studio, the design refl ects the serenity of the local landscape. The theatre acts as the meeting point between land and sea, with the golden shell anchored in the earth and a light canopy fl oating over the water. One of the most notable aspects is the roof, conceived as a “shim-mering gold jewel”. To achieve this, the stain-less steel cladding panels were sent to UK-based fi rm Rimex, which applied a special chemical treatment.

THE DETAILS A huge overarching mashrabiya

brise soleil allows for untinted glazing on the curtain wall. The structure involves woven perfo-rated sheets of aluminium attached to aluminium beams. Hidden inside each of them are fl uorescent lights which create striking shadows at night. The glazing system is sup-ported by glass, with 54mm-thick panels that structurally hold the main glass in place. The system is bonded using a special type of silicone to a small aluminium ex-trusion, concealed between a glass fi n and a glass panel.

800KGWEIGHT OF

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THE PROJECT Last year Dewan was awarded the

contract to design the new Cultural Centre by the Basra Governorate in Iraq. This comes after the recent establishment of Dewan’s Basra branch offi ce and its recent com-missions on the Basra Governorate Building and the 5-star Shatt Al Arab Hotel.

The Basra Cultural Centre will contain fi ne arts exhibition areas, meeting rooms, conference halls, a heritage museum, cinema halls, theatre, a radio and television broadcasting department, public library, cafeteria and outdoor land-scaping and green areas.

CASE STUDY

BASRACULTURAL CENTREArchitect: DewanLocation: Basra, Iraq


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THE SITE It will be situated on a plot of

land near Shatt al-Basra with an approximate area of 15,275m2, and will form part of Basra’s new administrative complex. The complex will also include the new Basra Governorate headquarters

offi ces and will be the cultural platform of the city. It will

host diff erent cultural events and festivals in a contemporary and built-for-purpose

functional environ-ment that will use the

latest in sound, acoustics, and lighting technology.

15,275METRES2

SITE AREA


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THE CONCEPT The design approach is translated

on the building façades in randomly placed diagonal square-shaped openings, reminiscent of the “dots” in Arabic calligraphy, which are gradually reduced in size as they get closer to the main entrance void.

The relatively large void which cuts through the centre of the building mass signifi es the heart of the project, where social interac-tion takes place, in addition to its main function as the entrance for the public. It contains curvilinear gradual architectural elements that resemble an open book.

THE DETAILS The central void contains se-

quential ramps, linked on diff erent levels, connecting the two parts of the building for easier access to the inner spaces, in addition to a number of elevators and escalators inside the building. According to Dewan, this creates a sense of “dy-namism” for visits. The architects introduced ornamental features such as calligraphy and poetry to decorate the ‘pages’, and illustrate the important role of Basra throughout history.

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CASE STUDY

THE PROJECT KEO International Consultants

has designed a new University for Kuwait Institute for Science and Technology that will accommodate 1,500 students. Designed for the Company of Science & Technology, the building contains a three-sto-rey atrium connecting the various programme elements with daylight fi ltering through the sides.

A series of wings house the administration, academic faculty, classrooms, academic support, laboratories as well as the graduate programme. These areas have been placed in a parallel arrange-ment at various nodal points along the concourse based on their functional adjacencies.

KUWAIT INSTITUTEFOR SCIENCEAND TECHNOLOGYArchitect: KEOInternational ConsultantsLocation: Kuwait


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scheme covers a total 27,000m2. Design director for KEO Inter-national Consultants, Raj Patel, explained the concept.

“The inspiration for the project stemmed from the site’s natural desert scape located outside the urban fabric of the city.”

Patel continued: “The natural and contextual phenomenon of con-tinuously shifting and realigning furrows in the sand formed by the movement of wind refl ect in the striation of forms and organisation of the design.”

27,000METRES2

TOTAL AREA OF SCHEME


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the classrooms, laboratories and the graduate programmes are three-storey blocks sitting astride the central concourse. Each of the wings terminates across the con-course in a node opening on to the circulation spine.

A 220-seat and a 520-seat lecture hall are both accessed from the fi rst fl oor through pre-function spaces connected to the circulation. All of the component wings are sep-arated by open-ended landscaped courtyards, creating shaded and controlled outdoor environments.

THE DETAILS The entire campus has been

coloured in sand tones emphasising a horizon-

tal movement similar to the shifting plane of the desert land-

scape. The rectilinear bar buildings end in

dynamic angled objects which have been expressed in

coloured metal cladding. These linear wings resemble tensed levers arranged opposing each other with the central spine as a fulcrum, and are said to create an overall appear-ance of movement and balance.

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THE SITE The project forms part of the

reinvention of the former docks of Puerto Madero as a dynamic new urban quarter.

It combines new construction and refurbished historic build-ings, with places to live and work alongside new civic spaces, leisure and arts venues.

Puerto Madero is home to several high rises, such as an of-fi ce tower by Cesar Pelli. Other landmarks include the Puente de la Mujer, Santiago Calatrava’s strik-ing ‘Woman’s Bridge’ completed in 2001, and the Hotel Faena by Philippe Starck.


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Apartments contain vaulted living spaces and deep, sheltered terraces that exploit the local climate and maximise views towards the city and Rio de la Plata. Brandon Haw, senior partner, Foster + Partners, said: “The Aleph is a building that is very much borne of its place.”

Haw continued: “From the tra-ditional Buenos Aires house, which takes advantage of the climate to combine outdoor with indoor living, to the industrial architecture legacy of the Puerto Madero District, the Aleph building creates a wonderful new living environment.”

THE DETAILS The Aleph is inspired by tradition-

al housing in Buenos Aires, where boundaries between inside and outside living are blurred. Its design features split-level living spaces that extend into generous balconies and double-height patios. Apart-ments combine a warm, natural palette with elegant vaulted concrete ceilings. Moveable sun screens and projecting balconies provide shade from low and high angled sun, while ensuring privacy, allowing natural ventilation.

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For sponsorship enquiries, please contact:Alexander JamesSales Manager, Middle East ArchitectTel: +971 4 444 3393Email: [email protected]

For nomination enquiries, please contact:Oliver EphgraveEditorTel: +971 4 444 3303Email: [email protected]

For table bookings, please contact:Michelle MeyrickEvents ManagerTel: +971 4 444 3328Email: [email protected]

Do not miss your chance to put forward your work for our expert panel of judges’ consideration. Submit your nominations today at www.designmena.com/meaa or contact one of our team for more information.

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THEWORKPROJECT UPDATE

This ambitious ‘experiment’ for Qatar involves the construction and operation of a super energy-effi cient house, which adopts the Germany-developed ‘Passivhaus’ concept. It also requires the construction of a conventional villa to serve as a tangible point of comparison, and the basis for a number of targets for the eco-villa. The scheme is a collaboration between Kahramaa, QGBC, BRE, and Aecom.

QATAR PASSIVHAUS

Architect: AecomLocation: Qatar

Highly commended in the Resi-dential category at the 2012 MEA Awards, the austere apartment block was designed by local ar-chitect Farshad Mehdizadeh and Raha Ashrafi . Mehdizadeh is also supervising the project, still under construction. It uses local architec-ture elements such as cantilevers, but adds new design techniques. The façade made from local materi-als suits the dusty conditions.

ABADAN APARTMENT

Designers: Farshad Mehdizadeh & Raha Ashrafi Location: Abadan, Iran

200METRES2

SIZE OF BOTHVILLA PROJECTS

PARK HYATT ABU DHABI

Architect: Perkins EastmanLocation: Abu Dhabi

The fi rst hotel project completed on Abu Dhabi’s Saadiyat Island, as well as the fi rst Park Hyatt-branded prop-erty in the UAE capital, the Park Hy-att Abu Dhabi Hotel & Villas opened its doors to guests last year. Designed by Perkins Eastman, the 306-key 45,000m2 resort is oriented towards the sea, with private villas that line a boardwalk and private beach. The energy-effi cient design meets LEED Certifi ed standards.

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Designed by Henning Larsen, this impressive museum is located in the Arts Campus at Umeå University in northern Sweden. It comprises three exhibition halls placed on top of each other. The ground plan of the museum covers 500m2, while the total gross fl oor area amounts to 3,500m2. The new museum more than doubles the exhibition area. It contains an auditorium, children’s workshops and administration.

UMEÅ ART MUSEUM

Architect: Henning Larsen Architects Location: Umeå, Sweden

3,500METRES2

GROSS FLOORAREA

This skyscraper is inspired by sikkas, the narrow alleys between buildings in old Middle East cities. Designed by Alexandre Carrasco and Omelmominin Wadidy, Mas-ters in Sustainable Tall Buildings Course, Department of Architec-ture and Built Environment, Uni-versity of Nottingham, it has eight stacked communities, with a library and retail facilities at ground level, and a space for prayer at the apex.

SIKKASIN THE SKY

Designers: Alexandre Carrasco and Omelmominin Wadidy, University of NottinghamLocation:Abu Dhabi

This four-level home consists of a main residence with a garden, pool, gym, and private terrace. Origi-nally conceived as a single-family home, MOP House can be split into two separate properties for future use. The project uses dark brown, natural sandstone and white plaster in the building’s façade to diff eren-tiate between the diff erent levels. Bamboo is used generously in the interior, built into curved walls.

MOP HOUSE

Designer:AGi ArchitectsLocation: Kuwait City 750

METRES2 AREA OF PLOT

Sponsored by the National Industrial and Mining Company (SNIM), the fi ve-star hotel project is intended to be an oasis of rest within the heart of Nouakchott. The main building is swathed in greenery and vegetation. Land-scaped grounds link a central reception building to living and rec-reational areas, including a spa and pool. Part of the connecting area was designed as a public gallery.

SNIM HOTEL

Architect: Draw Link GroupLocation: Nouakchott, Mauritania


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Designed by Dubai’s GAJ, this boutique hotel resort north of Khor Fakkan won the 2012 MEA Award for Hospitality & Leisure Project of the Year. The design draws inspira-tion from historical references in similar settings. The slope and nature of the existing mountainside have determined the massing of the hotel form. It has been sited to reduce the cutting of the natural rock as much as possible.

THE CHEDI, KHOR FAKKAN

Architect:GAJLocation:Khor Fakkan, Sharjah,United Arab Emirates

100+ NUMBER OF SUITES

IN THE RESORT

Designed by Mimar Emirates Engineering Consultants, it is one of the university’s fl agship colleges and will house six academic depart-ments: Chemical, Civil, Architec-ture, Electrical, Mechanical, and Computer Engineering. Mimar was challenged to conceive of a facility that could handle the college’s cur-rent enrolment of 1,200, but grow over the next three years to accom-modate a projected 2,200 students.

COLLEGE OF ENGINEERING — QATAR UNIVERSITY

Architect: Mimar Emirates Engineering Consultants Location: Doha, Qatar

This mixed-use commercial and residential project just off Al Safa Park is geared towards design savvy, middle-income residents and retailers. The multi-dwelling property is intended to socially integrate its community. The three-storey complex incorporates retail spaces on the ground fl oor to cater to pedestrians, and apartments on the top two fl oors, providing privacy from the two-storey townhouses.

WASL SQUARE

Architect: NAGA ArchitectsLocation: Dubai, United Arab Emirates

270 TOWNHOUSES AND

APARTMENTS

Designed by Iranian architect Farshad Mehdizadeh, this fast food store occupies 7m2 on an Isfahan street. The project was highly commended in the Public Sector, Institutional and Cultural Project category at the MEA Awards in 2012. Judge Bart Leclercq, WSP, said: “This must be the smallest architectural project ever but the amount of diligence that went into the design is remarkable.”

CIRCLESNACK BAR

Architect: Farshad Mehdizadeh Location: Isfahan,Iran


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LIGHTINGDUKEDelightfull

The Duke suspension lamp is a 70s-inspired fi xture ideal for a contemporary living room. It off ers the possibility of inclining the angle of each arm by adjusting the height of the magnetic cable at any time. The standard version is composed of three arms but it’s possible to choose any number of units. Its body comprises black matte with touches of glossy black, gold-plate and white matte.

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FURNITUREBALLOONArmani/Casa

The Balloon is a tubular armchair and footrest by Armani/Casa that draws inspiration from the styles of the 1930s. It is available in diff erent elastic cover colours such as beige, black, dark green, dove, ice grey and red however

all covers are non-removable. The profuct is made with a black nickel-plated iron base. This comfortable-looking yet chic item can be used in modern-styled interiors with its simplistic yet bold design.

FLOORINGAVANT FLOORINGAvant

A new generation of sustainable composite fl ooring, Avant uses advanced German technology to make elegant and joint less fl ooring panels. With 100% waterproof, fi re retardant, scratch

resistant and energy saving features, the high load bearing capacity surface stand up the challenges of high footfall areas like airports, shopping malls, hospitals, shops and homes.

FURNITURESHAKYEnzyma

The ceramic vase Shaky, designed by Gianluca Sgalippa, was born as a provocative and sur-real object. Its abstract presence, characterised by a clear geometry, places it outside of time and a spe-cifi c space. An elongated cylindri-cal volume bends and, in the form of a semicircle, draws a U-turn. In this action, one of the two legs does not touch the ground. This interruption of a perfect geometry is said to generate a feeling of instability. However, the balance of the vase is introduced by a me-tallic weight placed on the bottom of the other leg.



LAST WORD | STEPHEN EMBLEY

64

Stephen Embley, ME managing director, Aukett Fitzroy Robinson, on his favourite architect, building and city

THE LAST WORD

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My favourite architect would be Jean Nouvel. His ability to interpret and capture the essence of place and spirit, especially the Arab world in a modern

architectural language, is a feature of his work.This is evident in his Ateliers work since the Arab World Institute, Paris in 1986, and more

recently in The Louvre Abu Dhabi.

The common thread that runs through the best works of architecture is a single-minded purpose, simplicity and the use of form, space and light.

This can create a magical and unique sense of time and place, capable of elevating the spirit.

Le Corbusier’s Notre Dame du Haut chapel in Ronchamp, France, is a masterful example of this approach.

Stemming from his later years in 1954, he has created, with a minimum number of strokes and forms, a powerful yet simple building that is at the same time, on various diff erent

levels, highly complex.

The use of modern architectural sculptural forms, space and light and its hill top location all come together to add a fourth dimension to the building.It is the distillation of the essence of spirit and a timeless place of signifi cance.

Surprisingly, my favourite city is Marrakech. Admittedly, it lacks sophistication and the variety of architectural icons but it makes up for that as a magical place.

It’s an intoxicating head-on assault on all the senses simultaneously.Not always the easiest place to love when you are there, but its legacy is only really felt once

you have left.

MZ ARCHITECTS have created yet another iconic design, a mixed used development and headquar-ters bui lding in Muscat. External ly it ’s a breath taking complex sphere within a sphere . The in-terior makes use of the spherical design and creates a ful l height void with interconnec-t ions across the void focusing on the internal courtyard below, Making the design t imeless.

MZ ARCHITECTSwww.mz-architects.com Tel: + 971 2 635 0002 Fax: + 971 2 635 0008 UAE, Abu Dhabi PO BOX 111992 [email protected]

O M A N A U R A

Documents

Middle East Architect | March 2013