Convergence: Reinvigorating Cultural Diversity

REINVIGORATING CULTURAL DIVERSITY

BY HIBA AL-SHARIF

CON VER GENCE REINVIGORATING CULTURAL DIVERSITY

A thesis book for the Final Architectural Project submitted to the Department of Architecture, School of Architecture, Art, and Design, American University in Dubai In partial fulfillment of the requirements for the Degree of Bachelor of Architecture Fall 2020

Copyright © 2020 by Hiba Al-Sharif All rights reserved

Approval of the Thesis Book for Final Architectural Project Department of Architecture, School of Architecture, Art, and Design, American University in Dubai Student’s Full Name: Hiba Al-Sharif Thesis Book Title: Convergence: Reinvigorating Cultural Diversity

Student Signature: _______________________ Professor Name:

Date: October 8, 2020

Dr. Annarita Cornaro

Professor Signature: _______________________

Date: October 8, 2020

ABSTRACT

Cultural diversity is one of the main characteristics of the city of Dubai.

Dubai’s vibrant expatriate community composes 85% of its 3.4 million population, with a profound impact on Dubai’s culture. As a multicultural city composed of Arabs and ex-pats from all over the world, it holds differe nt ethnic groups of different social and economic levels. It is this diversity of the city that makes Dubai the dreamland of many people. Moreover, Dubai may be further culturally enhanced with the addition of spaces that reflect its wide range of social demographics. Also, Dubai’s rich and diverse community should enhance the connections between its people, but this is not truly appreciated through strong cultural connections among the residents.

Dubai is populated by different ethnic groups, speaking different languages, yet the city lacks a uniform cultural node among its residents. This raises the question of what could be the intersectional factors for this diverse community? To enhance the quality of life in terms of leisure and social sustainability, the interaction between the space and its diverse users must be understood. The existing community gaps can be amended not only by the intangible connection points between the city communities but also architecturally via culturally shared architectural elements. This research intends to reveal the potential links that will amplify the individual’s expression in the physical world influencing the community’s interconnectedness

through both cultures and culturally shared architectural elements. The overall aim of this thesis is to investigate the ability of architecture to respond to Dubai’s cultural diversity and help its people find a sense of unity while having variant costumes, cultures, senses of place, and memories. It also intends to discover an intersection among its various ethnicities relying on the principles of multiplicity and co-presence. Additionally, the research will take a double path investigation, tangible and intangible, to explore both architectural and cultural intersections.

It will highlight the need to signify the cultural divergence of one’s identity through space design. This will create belonging and a feeling of co-existence in a shared space.

7

DEDICATION For the one who always believed that I could be whatever I wanted, that I should never give up, and told me always to believe in myself. Thank you Mother.

8

ACKNOWLEDGMENT First and Foremost, I would like to express my gratitude to my instructor, Dr. Annarita Cornaro for her guidance and support.

Special thank you to my friends, colleagues, mentors, and professors who have helped me throughout this journey.

Each and every day one of you have inspired me to keep on pursuing my dream.

9

Chapter 03 Theory and Background

P. 70

3.1 Sense of Place Theory

P. 72 P. 76

3.3 Multicultural Modernism

P. 80

3.4 Cultural Architecture - Notable Designers

P. 84

Chapter 04 Study Process

P. 92

4.1 Investigating culture and building form

P. 94

4.1.1 Cultures interrelation; Imperceptible

P. 96

Norms

10

Chapter 01 Introduction

P.1 6

1.1 What is cultural diversity

P. 18

1.2 Ethnicity vs Identity

P. 26

1.3 Why cultural designing is important;

P. 38

Cultural Diversity - Creative Diversity 1.4 Planning for diversity by whom?

SECTION 1

R E S E A R C H S U B J E C T

TABLE OF CONTENT

4.1.2 Culture and Building Form

P. 42

Chapter 02 Problems and Objectives

P. 44

2.1 Dubai as a cultural hub

P. 46

2.2 Cultural Diversity Celebrations

P. 50

2.3 Culturally diverse, socially divergent

P. 56

2.4 Dubai: the past and the future

P. 60

2.5 A new wealth from cultural diversity

P. 66

P. 98

4.2 Multiplicity in Unity and Co-presence

P.110

Chapter 05 Precedent Analysis

P. 112

5.1 Study Cases Introduction

P. 114

5.1.1 Historical Sites 5.1.2 Business Sites

P. 116 P.118

5.1.3 Religious Sites

P.120

5.2 Dongdaemun Design Plaza

P.122

5.3 Yiwu Cultural Square

P.148

5.4 The Fuzhou Strait Culture and Art Centre

P.170

P. 196

6.1 Spatial Program and Criteria

P. 198

6.2 Spatial Organization

P. 206

6.3 Spatial relationship

P. 207

6.4 Relationship Matrix

P. 208

Chapter 07 Site Context and Analysis

P. 209

7.1 Why Dubai?

P. 211

7.1.1 Dubai - Urban Context and

P. 215

socio-demographics

7.2.1 Location 7.2.2 Historical Context and Site Surroundings 7.2.3 Urban Aspects 7.2.4 Wind Direction 7.2.5 Ethnic Diversity - by site’s sector

P. 223 P. 225 P. 227 P. 239 P. 241

7.2.7 Popular Times

P. 243 P. 244 P. 245

7.2.8 Key Potential Design Parameters

P. 246

7.2.6 Population Density - by site’s sector

7.3 Site Determination

P. 247

7.4 Site Diagnosis

P. 249

7.4.1 Site History

P. 251 P. 253 P. 255 P. 258

7.4.2 Site Views 7.4.3 Site Geography 7.4.4 Site Access and Circulation Network 7.4.5 Site Surrounding 7.4.6 Site Strengths and Special Elements 7.4.7 Site Problems Perceptible

P. 259 P. 263 P. 264 P. 265

Chapter 08 Design Approach

P. 271

8.1 Mental Map

P. 273

8.2 First Concept -Portal

P.275

8.3 Seconed Concept -Labyrinth

P.279

8.4 Third Concept -Courtyard

P. 283

Chapter 9 Works Cited

P. 287

11.1. Information Work Cited

P. 289

11.2. List of Figures

P. 295

TABLE OF CONTENT

7.2 Comparision Analysis in Urban Scale

P. 221

CONCEPT D E S I G N AND R E F E R E N C E

7.1.2 Three Potential Sites Selection and Premise

SECTION 3

SECTION 2

P R G R A M & SITE-ANALYSIS

Chapter 06 Programming and Spatial Analysis

11

S E C T I O N ONE R E S E A R C H

12

S

U

B

J

E

C

T

Figure A Dubai Sky line from the Jumeirah beach

“We must strive for an intellectual and cultural renaissance recognizing that development and stability are possible only through tolerance.”

H.H. Sheikh Mohammed Bin Rashid Al Maktoum

13

CHAPTER

ONE

I

N

T

R

O

D

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C

T

I

O

N

1.1 What is Cultural Diversity

P. 18

1.2 Ethnicity vs Identity

P. 26

1.3 Why Cultural Designing is Important;

P. 38

Cultural Diversity - Creative Diversity 1.4 Planning for Diversity by Whom?

16

P. 42

17

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1.1 What is Cultural Diversity In this world, every society has its own

individual striving (Samovar et.al 109).

people

culture. All countries are made up of

Culture is known as the ideas, social

enhance their understanding of attitudes

different societies that follow various

behavior, and costumes of people. It is

towards life. It is the basis of how humans

cultures. As they are socialized in their

the system of shared knowledge among

interpret their life experiences and the

corresponding

people

a relatively large group of people.

way they guide their actions (Greetz 145).

earn their cultural values very early in their

According to Hofstede, a Dutch so-

lives. Since each society has its values,

cial psychologist, in his article ‘Motiva-

in social life and people have respect

practices, and beliefs, people’s learned

tion, leadership, and organization’, he

for their own culture. So who is consid-

environments,

commemorate,

convey,

and

ered multicultural? Broadly speaking, in addition to the dominant popular society, on the life of all human beings. Cultures

Culture is a collective programming of

those who are mixed-race and mixed

refer to the collective deposits of beliefs,

the mind that distinguishes the members

ethnic, those who have lived in more than

experiences knowledge, values, attitudes,

of one group or category of people from

one country (such as expatriates, foreign

religion, hierarchies, meanings, notions

another” (Hofstede 46). Although one’s

students, newcomers, refugees, and so-

of time, spatial relations, concepts of the

journers), those raised in at least one other

universe, roles, possessions, and material

society (such as immigrant children or col-

objects owned by a group of people through generations through group and

18

it. Clifford Geertz, an American anthro-

onized people) and others in inter-cultural ties may also be considered multicultural.

Figure 1.1.1 Red Fest DXB festival 2019 crowd

19

I

N

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O

D

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C

T

I

O

N

Intercultural language learning cultures are different and relative; people use

our identity” (Cooper 14). This approach

language in various ways to achieve their

of learning how to communicate via

common goals - for instance, involves

different

developing with other learners a common

cultures develop an awareness of the

understanding of their culture(s) and

impact of cultural differences interrelation

language(s) in the context of an addition-

to

the

languages

people’s

with

learning

different

process.

al culture and language. People involved in intercultural language learning progress language, and in general, an understanding of the various ways in which cultures exist in this world. According to a study made

20

by

the

Philosopher

John

M.

Figure 1.1.2 Global languages

21

I

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R

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D

U

C

T

I

O

N

Cultural diversity as a term is often asso-

(Cooper 10). When it comes to recogni-

individual in any community is effective

ciated indistinguishably with the concept

tion, people must be aware of the plenti-

power to his society and this contributes

of multiculturalism. Multiculturalism may

ful diversity of cultures around them. They

refer to a particular series of philosophical thoughts, demographic actuality, a

validity of various expressions and cultures. are different from theirs. An equal mutual

When people acknowledge their cultural

cultural recognition amidst people must

differences, they enhance their ability to

setting up to a miscellaneous populace.

exist to be the most important key factor

communicate with each other. They de-

A common worldwide discussion regard-

to understand and reveal multicultural val-

velop learning and communication skills

ing multiculturalism is based on whether it is the best approach for managing di-

as well. It is important not only to recog-

versity. Seven essential actions are often

nize other cultural existence but to respect

associated with the term ‘Cultural diversi-

them and accept them. Understand the

ty’. To some extent, these actions form the

importance of respecting this difference

basis of a culturally diverse community.

and that they have an important role in

Recognition,

acknowledging,

boosting any community with ideas and

empowering,

skills. Cultural respect and understanding

and celebrating are the pillars of a

of others’ beliefs and values help to meet

successful culturally diverse community

and responds to people’s needs. Every

valuing,

22

that enable them to deliver their thoughts

respect,

encouraging,

to a diverse recipient medium (Cooper 11).

Figure 1.1.3 Cultural diversity seven pillars

Respect Celebrating

Acknowledging Culturally R e c o g n i t i o n D i v e r s e

Community Va l u i n g

Empowering

Encouraging

23

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O

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1.2 Ethnicity vs Identity In the contemporar y world, ethnicity

the first question is whether the life-

humans

and identity are ver y much talked

style

second question concentrated on the

about

in

cultural diversity in their communities,

Ethnicity

was impacted by this multiculturalism.

respondents’ identities. 77.6% of that

always materializes concerning some-

The study results indicated that 82.1% of

respondents

one else. Identity is contextual in both

that respondent’s lifestyle was impact-

expression and derivation that is sus-

ed by cultural diversity. The other 17.9%

ceptible to manipulation and subject

of the respondents replied that their life

these

multicultural

days,

particularly

communities.

of

respondents

experiencing

to change is now well known and is These results bring us to the conclusion

these characteristics with ever ything

that

26

(Rishikeshav

1).

cultural

diversity

in

multicultural

Cultural in humans lifestyle. And this conclusion is

lifestyle

multicultural

in line with; ethnicity. religion, country and

communities. A study made by Steven

place of birth, and several other factors

Vrtovec, a German anthropologist,

are the main causing components for

was based on two main questions,

cultural diversity and have many effects on

people

in

replied

that

1027).

they

The

were

that other surrounding cultures did not

ence of cultural differences on the life and identity of people who live in a mul-

diversity has a great influence on the of

(Vertovec

that the (77.6%) a higher percentage

certainly expectable, for it to share Cultural

lives

ticultural environment (Vertovec 1028).

ticulturalisim?

Diversity Cutural

Religion

for Components Causing

n o i s c n o C

22.4%

N o t - I n f l u e n c e d

17.9%

N o t - I n f l u e n c e d

l

u

77.6%

I n f l u e n c e d

I n f l u e n c e d

82.2%

Ethnicity

C u l t u r a l D i v e r s i t y Country

P l a c e of B i r t h

ticulturalisim?

Figure 1.2.1 Survey Results on Cultural Diversity Impact on multicultural communities

27

I

N

T

R

O

D

U

C

T

I

O

N

This conclusion is in line with cultural diversity

influences;

and

identity

life

our

to

identities

classifications

and groups of people who influence our view of the world around us. In debates between

relating ethnicity

the and

difference identity,

many consider that individuals are a cculturated into their ethnicity, however, they form their identity themselves. Where in specific, ethnicity is considered as a group dynamic that is influenced by geographical, historical, biological conditions, and any other factor. On the other hand identity, either of a group or of an individual, is a matter of distinction.

28

Figure 1.2.2 Ethnic diversity in New York, USA

29

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D

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C

T

I

O

N

Ethnicity is ancient and universal, and

and internalized in individual self-iden-

over time and place, discourse on ethnic

-

distinctions has become widely complex.

tive (R. Jenkins 3). Ethnicity refers to the

The word has been used variously to mean

cultural distinction used to classify peo-

nation, culture, faith, or people, but

ple and groups that are considered to

collective cultural distinctiveness is the

be respectively distinct from others. The

central generic sense. Ethnicity is about

perceived cultural heritage and cultur-

cultural differences (bearing in mind that

al features that involve traditions, lan-

similarity and variation are inextricably

guage, religions, behaving, and other

linked), while ethnicity is centrally con-

traits that are used to classify people, are

cerned with culture, it is by far also the result

the main components of ethnic groups.

of social interaction. Ethnicity is not more static or unchanging than culture, of which it is a part of or the social circumstances to a considerable degree. Ethnicity as a social identity, externalized in social interaction,

30

Figure 1.2.3 (Left) Nasir al-Mulk Mosque, Iran representing cultural heritage Figure 1.2.4 (Right) Collage representing Identity as contextual in both expression and derivation

31

refers to social categories and sources of self-respect or dignity of a person. There is can at least be used to refer to personal characteristics or qualities that can not be

that social distinctions are related to the basis of the self-respect of a person. Most of the strength and interest of the word is, arguably, derived from its tacit relation between these two elements,self-respect or dignity, (Fearon 2). Besides, a debate usually arises regarding

36

the difference between an individual’s identity and cultural identity. Several identities can inhabit a single place, for instance, different identities are performed under the roof of a single-family house, where a single cultural identity may be established in several interconnected spaces. Naturally, the self-organization level determines a person’s identity, that is, the intuitive sense or conscious of the person sameness with time. To a large extent, ethnicity itself has an impact on the formation of someone’s identity (Fearon 7).

Although usually people delineate their identity in terms of gender, age, relationships, understand and represent themselves in the current complicated world. However, often

Figure 1.2.7 Cultural identity shaped by Arts

37

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1.3 Why cultural designing is important; Cultural Diversity= Creative Diversity Culture

38

itself

and

courage, and bravery, and so on preserv-

evolving nature, and it is more likely to

ing cultural characteristics (R. Jenkins 2).

disappear when societies do not evolve.

Establishing

Every culture has something to teach

educating individuals of various nation-

that is fascinating. By encouraging it

alities about the culture of each oth-

and learning from other cultures, people

er makes them mindful of the cultural

of a single nation will enrich their

values of each other, brings them clos-

culture.

a

er together, and encourages them to

reflection of its interest and effort, which is

draw inspiration from other cultures and t

expressed in the form of different arts

raditions. The growth of global migration

and results in improving the quality of life.

and trade means more and more diversi-

Besides, the reflection of historical events

ty within an already multicultural country.

that should be preserved is among the

The formation of more diverse city spac-

cultural characteristics of each country

es is a remarkable contribution to urban

(Fearon 3). In the form of architecture,

growth. In particular, a city’s ability to

poetry, and paintings, many artistic mas-

adapt to cultural differences promotes

terpieces of different nations, and the

co-existence

expression of national accomplishments,

and economic growth (Tatjer, 2003).

Every

has

a

changing

nation’s

culture

is

a

proper

and

framework

encourages

for

social

Figure 1.3.1 (Left) BIG Superkilen- ethnically diverse and socially challenged neighborhood Figure 1.3.2 (Middle) Metaphor poem written by Walt Whitman about the death of U.S. President Lincoln Figure 1.3.3 (Right) The Incredulity of Saint Thomas painting by Caravaggio

39

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1.4 Planning for diversity; By whom?

Cultural diversity is a quality that munic-

integrate into the main society’s job

strength to the opportunities for the com-

ipalities must handle on a local scale.

market and conform to the dominant cul-

munity to grow. On the other hand, ar-

The explanation for this is that municipal-

ture. This reality in a way prevents the host

chitects’

ities are more conscious of the diversi-

community from using its cultural posses-

them

to

social

responsibility

acknowledge

requires

architectural -

ty of the population. They can thus take advantage of that community’s cul-

sustainable development (Tatjer, 2003).

ed through their designs. Especially in

tural values more effectively on their

Here, the involvement of a local planner

multicultural communities, the social im-

territory. (Tatjer, 2003) In addition, the

is crucial to prepare for a kind of devel-

pact on architects’ design must be sig-

collaboration

municipalities

opment that addresses the inhabitants’

and local citizens works well because,

cultural values and attempts to turn that

between

worldwide call for cultural acceptance.

regardless of the context differences, members of a certain community share a mutual sense of belonging that makes them willing to become active in the growth of the community. However, migrants of different backgrounds are often reluctant to reveal their cultural values because they feel it is more necessary for them to

42

Figure 1.4.1(Left) The Right to Dwell Figure 1.4.2 (Right) Århusagade, Copenhagen

43

CHAPTER

TWO

PROBLEMS

44

A N D

OBJECTIVES

2.1 Dubai as a cultural hub

P. 46

2.2 Cultural Diversity Celebrations

P. 50

2.2 Culturally diverse, socially divergent

P.56

2.3 Dubai: the past and the future

P. 60

2.4 A new wealth from cultural diversity

P. 66

45

PROBLEMS

A N D

OBJECTIVES

2.1 Dubai as a Cultural Hub In the Middle East, the U.A.E. is the most

UAE people accept the rights of all

cosmopolitan and Westernized country.

ethnicities within the context of human

Dubai has placed itself as an econom-

rights. Also, the presence of this cultural

ic hub for the Gulf. With a history of both

diversity is recognized by UAE nationals

social and political stability, there is no

and the UAE government, enjoying the

wonder that a large and professional multicultural workforce has settled In

from it. In the 50 year charter that stems

Dubai. The economic expansion of the

from the eight principles of Dubai, his

21st century has turned the once tradi-

royal highness Sheikh Mohammed bin

tional society into a tapestry of multi-cul-

Rashid Al Maktoum states in the second

ture. The blend of Eastern and Western

of the Eight principles: “The law does not

cultures, traditional and modern, has

discriminate

made it a fascinating experience to work

residents,

and do business in Dubai (Miller 2011).

female,

The

46

results

suggest

the

between

rich

and

Muslims

citizens

poor,

and

male

and and

non-Muslims”,

common

concepts of multiculturalism in the Unit-

“Our

society

is

ed Arab Emirates that apply to differ-

coherent one, bound by tolerance and

ent ethnicities living in the Emirates and

openness”

(UAE

a

respectful

Government

and 2019).

8

We care about future genrations

We believe in eco-

The union is the foundation

A land for talent

No one is above the law

We are a business capital

Our society has a unique personality

Three factors drive growth

Figure 2.1.1 (Left) HH Shk Mohd author of the 50 year chart Figure 2.1.2 (Right) The Eight Principles of Dubai

47

PROBLEMS

A N D

OBJECTIVES

Multiculturalism also applies to the laws and regulations of the UAE government

festivals of their own culture. Quite of-

aimed at securing the rights of nationals

ten, statistics of celebrations, occasional

tures and religions. Furthermore, mul-

and

ticulturalism refers to the UAE govern-

often take part in celebrations of oth-

ment’s ongoing management of this

er cultural functions (DSC Home). This

cultural diversity through the implemen-

shows the use of individuals to celebrate

tation

different

of

government

initiatives

and

recurrent,

indicate

functions

in

that

Dubai,

people

admire

carefully designed policies aimed at re-

multiculturalism, and to enjoy its healthier

solving this diversity, managing the chal-

aspect. This result is consistent with the

lenges it poses and managing the forc-

200 different nationalities of ex-pats from

es of change to foster social cohesion

all over the planet working and residing

where both UAE nationals and non-na-

in Dubai. This city hosts numerous events

tionals can get the most out of it. These

and festivals throughout the year due to

responses to the city’s cultural diversity

the variety of the cultures of expatriates.

indicate that people use many functions

Figure 2.1.3 Dubai fountain people gathering

48

49

PROBLEMS

A N D

OBJECTIVES

2.2 Cultural Diversity Celebrations Dubai as it is made of a mosaic of cultures. 2019 statistics given by Dubai’s statistics center indicates that Dubai’s vibrant expatriate community compose 85% of its 3.4 million population with a profound impact on Dubai’s culture. Even compared to the other U.A.E. Emirates, the two hundred nationalities living in Dubai makes it the most culturally diverse.

57.1% of the ex-pats in Dubai are from the subcontinent (India, Bangladesh, and Pakistan,) (DSC Home 2020). They arrive at the city with cultures, religions, beliefs, languages, and several other community contributing factors. Religion for instance, and Dubai as an Islamic-based country,

50

Figure 2.2.1 (Top) UAE poulation percentage by ethnicity 2019 Figure 2.2.2 (Bottom) Total population in UAE by emirate 2019 Figure 2.2.3 (Right) ‘Holi’ festival in Dubai- an indian celebration

51

PROBLEMS

A N D

OBJECTIVES

2.3 Culturally Diverse, Socially Divergent Despite all the opportunities for people

country, even if they want to do so. Visiting

to interact, people’s fear of the unknown

museums is simple, or getting out and

may keep them close to those whose

about in the mountains. However, it is not

backgrounds they share. This prevents

simple to build relationships with Emiratis

them from taking advantage of the rich

to learn about local cultures and tradi-

opportunities available to meet and

tions. Language can pose a challenge,

learn about people who are different

as many of the most common Emiratis

from them. Either in markets, sports, and many other public spaces people tend

traditional culture, but not in any other

to group with their own which results in

language. There are, places for every-

a lack of unity and intersection. The ma-

one in the multicultural society of Dubai,

jority of the city ex-pats (India, Pakistan,

but in a culturally divergent environment,

and Bangladesh) come from the sub-

these individuals feel ill at ease. It can

continent and the GCC countries. The lo-

make the cultural exchange a challeng-

cals, referred to as Emiratis, are a friend-

ing process in a multicultural world. Emir-

ly group and typically tend to stay to

atis, who speak a different language, are

themselves. However, they communicate

quite often at ease with foreign cultures.

But, overall, only a few are willing or able

for many expatriates to learn about the

56

to pass their knowledge of their culture.

Figure 2.3.1(Left) People gathering of same ethnicity gathering by the water canal Figure 2.3.2(Right) Asian workers playing in the sand

57

PROBLEMS

A N D

OBJECTIVES

In Dubai, resident expatriates and

Rodney Hills and Paul WB Atkins demon-

local citizens get to know each oth-

strated that expatriates from various re-

er and socialize to a limited extent in

gions, along with the national Gulf Arabs,

quite a few places. Aside from places

claim to diverge from their home cultures

of worship for Muslims, it is uncommon

and converge on several main cultural

for expatriates and locals to socialize

characteristics associated with a Western

together. By limiting their interaction

self-model, while Westerners themselves

with expatriates, locals tend to main-

seem to claim no substantial movement to-

tain their culture and identity. Besides

wards any of the native cultures. In Dubai,

worldwide necessities and comforts,

-

Dubai possesses the capacity to im-

er, given such diversity, the minority local

port innovative, fresh ideas and wide

national community can preserve its cul-

skill sets to the city. The several ethnic

tural heritage (Raven and O’Donnell 214).

groups existing in Dubai led the locals to be more tolerant of other social identities. Yet, Emiratis remain aware of their cultural identity markers. In their study of ‘Cultural Identity in the UAE’,

Figure 2.3.3 Dubai Mall Armani Cafe. Locals can be seen in few

58

59

PROBLEMS

A N D

OBJECTIVES

2.4 Dubai: the past and the future With its location in the Persian Gulf specif-

acknowledge its present growth, and

also walled. An area of land that was

ically in the center of the Eurasian conti-

look forward to the future of the city. But

exactly to the East of Al Fahidi Fort was

nent, Dubai was considered as a crossing

how did Dubai’s multiculturalisim begin?

given to the migrant merchants com-

point between the East and the West.

Dubai attracted a range of immigrants

ing from mixed origins. They settled

However, due to its harsh climate where in

in the nineteenth and early twentieth

there where they built themselves hous-

summer the temperature usually reaches

centuries. With the political instability in

es in what is known now ‘old Dubai’.

Persia at the time, the ports on the coast ries. Today, after landing, First-time Dubai

and

allowed

visitors can’t help but notice the impres-

settle

sive infrastructure, soaring skyscrapers,

Records indicate that Dubai, in the early

and stunning attractions. It is typically dif-

1800s, was a walled city. About the same

in

migrant

Dubai

merchants

(Elsheshtawy

to 66).

time as Dubai became a dependen-

60

ago, the city was a large desert with just

cy, the Al Fahidi Fort was built. From Al

a relatively small population! Dubai, in-

Fahidi Historical Neighbourhood through

deed, has come long way, throughout

Al Fahidi Fort, the wall on the side of Bur

the last few years. However, by learn-

Dubai extended, ending at the Old Souk.

ing

The area of Al Ras on the Deira side was

about

its

history,

we

can

fully

Figure 2.4.1 Spices shop in Dubai old souq

Figure 2.4.2 The main entrance to the the Grand Souq of bur Dubai Figure 2.4.3 A look through th old alleyways of Dubai Souq

61

1966

1853

discovered in Dubai

Perpetual Treaty of Maritime Truce. The region becomes the Trucial Coast

1971 1958

1833 Maktoum Bin Buti Al Maktoum settle in Shindagha, establishing the ruling Maktoum dynasty

Dubai Airport, Jumeirah and Al Qouz districts established

HH Saeed Al Maktoum House built

1960

1896 Dubai becomes “the main port of the Trucial Coast General Dubai Evolution Dubai Architecural Evolution

62

The UAE becomes an independent federation

Sheikh Rashid Bin Saeed, becomes ruler

Figure 2.4.4 Dubai Evolution Timeline

1902

Dubai Post opened

1941

Al Maktoum Bridge opens

1963

First mall Al Ghurair Centre established

1981

2020 2006 HH MBR ruler of Dubai and Vice President of the UAE

1985 Jebel Ali Free Zone established

Dubai Metro opened

Burj Al Arab Construction Started

1994

Dubai Investement park established

1995

2009 The Palm Jumeirah construction started

2001

Dubai water canal Dubai burj khalifa opened

2010

2016

2020

Dubai Expo 2020

63

PROBLEMS

A N D

OBJECTIVES

In 1820 when Britain negotiated with

of Dubai as a trade hub via sea and as

a vision of a network of high-rise of glass

Dubai local rulers a maritime truce; the

a center of business and tourism via air

and steel, but greater Renewable ener-

trade routes were open and the business

made the path of the economic devel-

gy strategies are also being developed,

prospered. Consistent interaction with na-

opment of this small city-state a result of

high-security plans were announced by

tions from around the world-India, Aden,

the wise leadership of the city’s incom-

the Dubai government, Water and eco-

Persia, and China-started with this, turning

ing workforce and skillets. Plans regard-

nomic strategies staring the communi-

Dubai a hub for critical activity (Elshesht-

ing Dubai coming years are all based on

ty’s prosperity are highlighted; all these

awy 75). Local citizens accredit the main

creating a more innovative smart city.

services for the over future comfort of

favor to be the dredging of the creek and

Dubai’s future is not only highlighted with

all the residents(UAE Government 2020).

the formation of “Jebel Ali Port” (in late 1979), both under the superintendence of his highness the past Sheikh Rashid Al Maktoum, and then by his royal highness Sheikh Mohammed as ruler of Dubai.

At the time it was built, Jebel Ali Port was considered the largest man-made harbor in the world and the largest port in Middle East. This establishment

64

Figure 2.4.5 View from Dubai Creek where the water Taxi (Al Abra) transport people across the creek Figure 2.4.6 View of the Dubai Creek from the Creek promenade

65

PROBLEMS

A N D

OBJECTIVES

2.5 A new wealth from cultural diversity The UAE boasts the highest level of immigration in the world, with just 15 percent of the population being Emiratis. There is a very large expatriate community in the UAE, particularly in the Emirate of Dubai, from the western viewpoint. The high level of immigration from all over the world implies that people can expect a thriving climate with a rich, integrated culture and lifestyle.

Throughout the city history, merchants arwith them their culture, beliefs, and language. The land welcomed these coming

66

Figure 2.5.1 A group of workers in the Bur Dubai district- Dubai holds the highest levels of immigration as a percentage of their population in the world.

good, ideas, traditions, and people since the early human settlement in the region. This interchange of cultures and goods was not only commercial. People arrived also for settlement. All these incoming foreigners had a great impact on the city commercially and socially where even the Arabic dialects of the the conclusion that cultural diversity had been the foundation for the community ly times and today. The cultural richness for a more interconnected community.

Figure 2.5.2 Photo from one of Dubaii schools- KHDA states Dubai Diversity extends to the way that students learn in the classroom

67

PROBLEMS

68

A N D

OBJECTIVES

With the Start of 2019, the UAE celebrated

Tayeb. This summit also “included the

a new theme for the new year. 2019 was

joint signing of a Human Fraternity Document”

called the year of tolerance where all

(UAE MOF). Tolerance, coexistence, coop-

the seven emirates celebrated the values

eration, dialogue all were the key values

and meanings of tolerance and accep-

for the year of tolerance. The whole theme

tance. As a multicultural city composed

revolves around motivating UAE residence

of different ethnic groups of different so-

to work together to serve and build a

cial and economical levels, several steps

better-interconnected community. On the

are taken to fortify the communication

other hand, the role of the rulers, and the min-

and connection amidst its residence in

ister of tolerance, is to seek a common ground

what can promote cultural tolerance.

for all the community members (UAE MOF) .

summit for tolerance in Abu Dhabi. The

connected

main topic in the summit was religious

The ministry of tolerance,with the guid-

tolerance. For several years religion has

ance of the UAE leader, came up with

been a major reason for discord amidst

the seven pillars of tolerance, These pillars

people. However, in this summit, UAE lead-

act as the guideline for the whole com-

ers welcomed the leader of the Catho-

munity, locals, residence, and leaders, to

lic Church, Pope Francis, and the Grand

perform a common purpose; make this

Imam of Al-Azhar in Eqypt Dr. Ahmed

country as the most tolerant worldwide.

community

were

taken.

Figure 2.5.3 UAE seven pillars for tolerance

UAE model of tolerance

Tolerance in the comunity

Tolerance in education Tolerance in legislation

Tolerance in the workplace

Tolerance in the media

Tolerance and culture 69

CHAPTER

THREE

T H E O R Y

A N D

BACKGROUND

3.1 Sense of Place Theory

P. 72 P. 76

Architecture 3.3 Multicultural Modernism

P. 80

3.4 Cultural Architecture - Notable Designers P. 84

70

71

T H E O R Y

A N D

BACKGROUND

3.1 Sense of Place -Theory A sense of place in cultural settings pro-

The skeletal structure for creating an in-

of people; the implications of how people

vides a detailed account of many mean-

dividual understanding of the sense of

feel and value place and other relevant

ings that are known to describe the place.

place will be created by these elements.

contributions. To increase the building’s

An analysis of a few papers and books

market value, the homogenization of the

established three dimensions of the sense

as part of the serious problem in the study

building materials and styles has been

of place in terms of visual, psychological,

of

Therefore,

achieved, however lack of expression that

and spiritual aspects. The term is described

through combining inhabitant and place,

makes our cities great is derived from it. It is

as space states between individuals and

“sense of place” plays an important as-

the discrepancy in our cultural values that

the setting of the environment amongst

pect in a cultural context. The lack of com-

determines how we interpret and use our

reports of critical scholar discussions. In-

munity expression in urban settings is an is-

space. The place is rather subjective for

terpretations of examined studies were

sue that plagues most urban environments

people who experience this sense of place

environmental

behavior.

used to better understand how to discover the understanding, experience, and

Resources

Understanding

FORMS

culture and standards (Mohammad 510).

72

Buildings Districts Landmarks Monuments Sites

VALUES

TARGETING

on the basis of elements relevant to their

SELECTION

reactions of people to their environment Attraction Identiy of place

Figure 3.1.1 Processes of selection and targeting in a sense of the notion of place

in the natural environment. The emotional component of the place experience means the physiological and physical interaction factor. The combination of physical and social characteristics produces a negative or positive atmosphere between individuals and the environment and informs the environment. As can be shown, the process of selecting and targeting the sense of place is based on the interpretation of values and Figure 3 below summarizes the overall effects of the measurement.

A strong match exists between resource selection and the targeting of forms of attractions and place identity types. The most possible interpretation of how human experience results in a visual effect and drama such as close to some of the positions in our memory (Mohammad 511).

Key Attribute Intangibles (Qualitative Measurements (Quantitative

Figure 3.1.2 Place making diagram

73

T H E O R Y

A N D

BACKGROUND

3.2 -

impacted the people more physical-

by geographical factors, ideological fac-

cation of architecture is very essential. In

ly, which can be seen clearly in the way

tors still leave their traces on architecture

some places, only from the architecture,

people have designed their homes and

and it can be easily seen when observing

you can understand the culture of the

towns. This is evidence of how the architec-

regions of the same religion and context,

people. While in other places, the archi-

tural ideas that people use in constructing

but different architectural styles have still

tecture produces the city and its culture.

To determine which cultural attributes are important to incorporate in design, one

been created. In their attempt to erase society in general. It is also important to

borders, people have disseminated the concept of identity, origins, and traditions.

can look at changes that have occurred in urban structure and form. A building can be the main representative of deod it was built. We would note that each country is different from another if we ent countries and borders. And if we were to trace in history why these disparities remain, civilization and culture would be the reason. Geographical variables have

76

Figure 3.2.1 Al Bastakiya, Dubai Figure 3.2.2 Sydney, Australia

77

T H E O R Y

A N D

BACKGROUND

should accept technological and material advances. Like vernacular architecture, multicultural modernism begins with the understanding that architecture is a “culturally patterned response to particularities of climate and environment” (Eh-

of Multicultural S i g h t

on

Modernisim attention to Place and people

H e a r cross-cultural convergence

depending

of

ing the spirit high, and that architecture

Particularities

‘form should follow function’ while rais-

patterned

the dictum of the modern tradition that

culturally

architects need to continue to adhere to

climate

building is properly situated in its commu-

inspiration

Technological creativity

location

the substantiates of location so that a

to

in modern urban centers, and to respect

T o u c h

sensitivity

many cultural effects that jostle together

environment

that aims to understand and balance the

responses

Multicultural modernism is the architecture

Courtyards

and

to

3.3 Multicultural Modernism

rlich 47). Modern technologies also allow

80

Figure 3.3.1 Multicultural Modernisim Elements diagram Figure 3.3.2 Steven Ehrlich and one of his designs

81

T H E O R Y

A N D

BACKGROUND

buildings to resolve such natural condi-

pre-industrial Gulf tradition of welcom-

affect the choice of materials and that

tions, with air conditioning as the prime

ing cool breezes in a hot environment

complement the site. The wide range

example.

modernism,

in tightly populated urban places. Mul-

of textures and colors is drawn from the

however, the idea is to consider the ad-

ticultural modernism starts at an even

surrounding landscape, which will artic-

aptation-to-local-environment

origins

more basic level with sensitivity to loca-

ulate the design into tuneful conjunc-

of vernacular architecture as much as

tion, depending on inspiration on touch,

tion with nature. Like a tuning fork, the

possible. The main four elements of mul-

sight, and hear. Listening and observing

architect uses himself to strike the cor-

ticultural modernism as stated by Steven

the surrounding are experiences that

rect tone for the design (Ehrlich 46).

In

multicultural

Ehrlich in his article ‘Multicultural Modernism: Architectural Balance in a Changing World’ are: courtyards as an alternative to the burden of density; openness to technological creativity as expressed in Los Angeles (the main highlight in Ehrlich study); attention to place and people; and cross-cultural convergence that embraces the local and global at the same time (47). A suburban architecture with an inner courtyard reinterprets the

Figure 3.3.3 Vernacular courtyards

82

Figure 3.3.4 Los angeles: incubator of change Figure 3.3.5 700 Palms Residence Figure 3.3.6 Halal (New Moon ) Residence

83

T H E O R Y

A N D

BACKGROUND

3.4 Cultural Architecture - Notable Designers Valerio Oligati - Swiss Architect the conception process (Friedrich 10). work merged Modernist principles with

Some of his notable designs are The Yellow

vernacular Swiss architecture. He is a swiss

House and the Bahrain Canopy for Pearling.

architect trained at Federal Zurich poly-

The Yellow House (1995-1999) is a recon-

-

version project which took the name of

tecture. His monolithic work and his detail

the old color of the building. Valerio Ol-

sense give to his work a minimalist and

giati conceived a facade in breach with

emotional shape. After living and work-

the traditional character of the house and

ing during few years in Switzerland and

transformed it in an abstract and enig-

Los Angeles, he opened in 1996 his own

matic white prism. Currently it serves as an

studio in Zurich (Cinopoints 1). He preach-

exhibition space and conference venue

es a cultural architecture and without

for Alpine architecture (vernacular archi-

fundamentally

non-po-

tecture of the Alps) and includes (among

litical and not referenced. He doesn’t

other exhibits) Rudolf Olgiati’s precious

matter about prior studies and existing

collection of cultural assets (Stevens 4).

no-contextual,

typologies but he values experience in

84

Figure 3.4.1 (Left) valerio olgiati: bardill studio, switzerland - a great example of Alpine Architecture Figure 3.4.2 (Right) valerio olgiati: The Yellow House

85

T H E O R Y

A N D

BACKGROUND

Kengo Kuma - Japanese Architect With the crash of the Japanese economy

constant

attention

and

replacement,

Kengo integrates wood in most of designs.

88

Tokyo to work with local craftsmen and ma-

Above all, Kuma is drawn to a vision of ar-

terials in the countryside. It was here that

chitecture that he has called “anti-object”

Kuma had the opportunity to learn about

architecture; his desire for architectural

the vernacular techniques and the natural

modesty. It is a story of returning to the val-

settings he integrates into his architecture

ues of traditional Japanese architecture

today. Kuma’s buildings are often decep-

through the work of modern architects

tively simple and make use of ancient ma-

who admire them, as well as the rather sim-

terials, especially wood. Most of his state-

ple idea that architecture should cease to

ments reveals a repeated turning over of

force itself onto a landscape and should

the same ideas and experiences, much

instead, through acquaintance with local

as he constantly comes back to wood to

materials and methods, relate itself harmo-

see what else it can accomplish. Wood

niously to its surroundings (Frampton 77). He

is a common material in Japanese tradi-

argued in many occasions about the tra-

tional architecture (Spita 17). Although it

ditions of Modernism and postmodernism.

weathers easily and visibly and it requires

He did not reject their principles, but

Figure 3.4.5 (Left) Kuma’s GC Prostho Museum Research Center interior view.Figure 3.4.6 (Right) The exterior of the GC Prostho Museum and Research Center.

89

resembled materials used in early modernist and postmodern buildings, like concrete, as rigid and far from the tradition.

On that Kuma comments “Architecture should go back to fabrication, to using real materials, to using the hand” (Frampton 107). He believes that architecture should cease to force itself onto a landscape and should instead, through acquaintance with local materials and methods, relate itself harmoniously to its surroundings.

90

Figure 3.4.7 (Left) The Exchange by Kengo Kuma- exterior louvers Figure 3.4.8 (Right) The Exchange by Kengo Kuma

91

CHAPTER

FOUR

S

T

U

D

Y

P R O C E S S

4.1 Investigating culture and building form

P. 94

4.1.1 Cultures interrelation; Imperceptible P. 96 Norms 4.1.2 Culture and Building Form 4.2 Multiplicity in Unity and Co-presence

92

P. 98 P.110

93

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P R O C E S S

4.1 Investigating culture and building form The double path taken in this research enables to understand the key factors

for

culturally

divergent

commu-

nity interconnectedness is based on: I. aspects

investigating and

contributing

to

community

and

II.

the

factors the

intangible

of

cultures

interconnected

social

investigating

sustainability the

tangi-

ble aspects of cultures relying on shared among

94

architectural cultures

through

elements history

Figure 4.1 Processes of selection and targeting in a sense of the notion of place

95

S

T

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P R O C E S S

4.1.1 Cultures interrelation; Imperceptible Norms

Cultural diversity is more than language,

features are generated and exchanged.

features are generated and exchanged.

race, and ethnicity. It is an entirely different

-

way of thinking as every culture has its con-

as well. When we understand that our

cepts, its own words and its understanding

reality differs from someone else, and

that our reality differs, and our basic

of ideas. Different cultures bring about dif-

our

knowledge

ferent viewpoints and each viewpoint is a

of human interaction via which cultural

communication

is

the

method

different

from

someone

else, people learn to adopt it. When

unique set of knowledge. If diversity with its intangible meaning was to be summed up, it will be based on four values that are: creativity. When it comes to communication, when people talk to someone of an opposite race or reality they learn that everyone is different and we need to respect that. Through communications, cultures are created; communication is the method of human interaction via which cultural

96

Figure 4.1.1a(Left) Cultural features are generated and exhanged via communication Figure 4.1.1b (Right) People are individually different but collectively they are one

people live together, they learn to realize that they might be different individually but collectively they are all one, they all form a single community. That promotes an idea of togetherness, and the idea of an interconnected community and a form of cohesion. Finally, creativity, where the munity tag along with it the variety of different ideas; each individual would bring ideas that belong to their homeland and culture. Individuals from diverse cultural backgrounds often have different are

language

multilingual,

backgrounds

can

be

and

individually

more creative and therefore have several interesting ideas to share with the community (Blot, Zarate,& Paulus, 177).

97

S

T

U

D

Y

P R O C E S S

4.1.2 Culture and Building Form

The

architectural

form

has

been

The Courtyard

shaped by cutters for ages. As permanent

In the gulf and U.A.E, the courtyard is an

element, it is encountered in different

structures,

have

architectural element that is used in re-

cultures with a common function, yet

used architectural elements as a repre-

sponse to the harsh climate. It is a me-

serve different intentions for each culture.

sentation of their identity and cultures.

dium, especially in houses, that derives

However,

elements

cold breeze to its surrounding amenities.

are common features amidst various

Steven Ehrlich in his article ‘Multicultur-

several

some

civilizations

of

these

al Modernism: Architectural Balance in hospitality, entertainment, and many more

a Changing World’ referred to high cul-

to be analyzed) architectural elements

rocco, people enjoy the experience of

highlight some of these elements where

the interior courtyard where fresh air and

the selection is based on which ele-

sunlight trays have direct access (Ehrlich

ment is shared by most cultures analyzing

46). In both of these regions, this archi-

the

tectural paradigm is used in architectural

coherent

relation

they

form

amidst cultures. Some of these elements

buildings.

exist in the Emirati architecture as well:

very well to non-residential architecture

courtyards,

portico,

like in the subcontinent. In India, court-

portal, arcade, veranda, fountains.

yards are integrated into religious spaces

labyrinth,

However,

courtyards

adapt

like temples. Thus, as an architectural 98

Figure 4.1.2a Inside a courtyard in a traditional courtyard house in Yazd, Iran.

Figure 4.1.2b Qasr Al Sarab Desert Resort in Abu Dhabi an example of the courtyard house and garden style

99

Labyrinth

They are a “system of intricate passage-

Arab islamic architecture (UNESCO 2015). In

ways and blind alleys” (Tikkanen 10). In

the Gulf, the Bastakiya district in Dubai is also

ancient greek and roman buildings, it was

a representation of a labyrinth alleyways,

fully or partially subterranean, comprising a variety of chambers and pathways that maze occurred later, especially from the European Renaissance onwards, informal gardens, consisting of complex paths detached by high hedges. However, in islamic architecture the labyrinth is not typically considered as maze, it is rather an urban style. Old islamic medinat (cities) buildings where positioned in labyrinth pattern.

Kan el-Kalili in Cairo Egypt, and the Old city of Sana’a in Yemen are two of the

Figure 4.1.2c Labyrinth Traditional Houses in Santorini

100

Figure 4.1.2d Labyrinth style of Al Bastakiya Dubai

101

S

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P R O C E S S

Portico

It is a “colonnaded porch or entrance to a structure, or a covered walkway supported by regularly spaced columns” (Lotha 1). In Roman architecture and all subseportico is a major component of Greek temple

architecture

and

hence

a -

tecture a portico is often referred to as a ‘Riwaq’. In mosques, for example, it serves as the transition and covered circulation space between the interior and exterior spaces (Hillenbrand 197).

Figure 4.1.2e Centre of vernacular architecture in India

102

Figure 4.1.2f Jumeirah Mosque main entrance portico

103

Portal

From the ancient Egyptian temples, the portal has been “used to communicate behind them” (Tikkanen 1). It is a wide entrance to an important structure, an opening in the wall of a building, gate, or fortican be created of simple building materials or decorated with intricate ornamentation which will vary from one culture to another. In Persia, a portal is referred to as an ‘Iwan’, it is used as the main entrance enced by Persian architecture, intermediation of Iwans and porches form an incremental level of visibility, enhancing the courtyard’s high connectivity as a person approach the private rooms surrounding it.

104

Figure 4.1.2g The grand iwan of the Jaemeh Mosque of Yazd

Figure 4.1.2h Al Jahili Fort Al Ain UAE

105

Arcade

The arcade has been in use since Roman times as a covered passageway. An example of the early use of arcades would be the Roman ancient aqueducts. Arcades were commonly used in medieval cloisters, and most old Islamic mosques have arcaded courtyards. In Renaissance towns like Bologna, shops and other buildings line the arcades. Middle Eastern bazaars are mostly rows of shops with arcades. (Tikkanen 2)

106

Figure 4.1.2i Arcades inside the Mosque of Uqba

Figure 4.1.2j Arcades in Al Fahidi Dubai

107

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P R O C E S S

Veranda

The veranda differs to the portico in that it usually leads to eith the front or back of a building and not colonnaded. It is most commonly, an open-walled, roofed porch used for outdoor activities. In Western architecture, it is attached to the outside of a residential building and typically enclosed by a railing (Rodriguez 1). In the East, in India, it was used in some Mughal mosques and palaces. The Shah Jehan Mosque veranda is one of the best examples of Veranda integration in Mughal architecture. The ‘Terrace’ which is very similar to a veranda differs from it in that terraces are where verandas are on the ground level acting as a buffer to inner spaces (Ali 19).

108

Figure 4.1.2k The Shah Jehan Mosque veranda

Fountains

Fountains in cultural architecture have dual characteristics; decorative and functional. “Their functional aspect as water suppliers made them essential to daily life” (Lamare 31). In ancient Rome their decorative aspect rose as an ornamentation of the space and of symbolism to political discourse. In several cultures it is used as a mean for improving microclimate which consequently will improve the air quality inside a building. Via evaporative cooling as it sprinkles water droplets in to the air, fountains both in the past and today, are one of the better options to improve the air quality. In the Eastern subcontinent cultures, water bodies are used in front of temples cooling worshipers approaching the building (Ali 17).

Figure 4.1.2l Trevi public fountain in Rome, Italy

109

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P R O C E S S

4.2 Multiplicity in Unity and Co-presence Diversity is a huge contributor to talent

in the research, a primary conclusion

and

optimism, community members’ satisfac-

can

by

mentioned in chapters 2.3 and 2.4, what

tion, effective production, and innovation.

nature, tend to group with their kind. Yet,

turned Dubai into a focal point of trade

However, without inclusion, the challeng-

cultural diversity if well understood and

and the cultural intersection was the

es associated with diversity management

integrated within public spaces designs

city’s commercial position as a market

(for

instance

communication

barriers,

various beliefs, and behavioral norms), may

be

derived

can contribute to community

in

that

people,

a further enhanced

terms

of

multiplicity

co-presence.

As

previously

and trade exchange hub. It started with people exchanging goods, and

be major prevention factors from community stability and social sustainability. Thus, in-able to achieve a sense of inclusion within the community members, more spaces that integrate cultural diversity intersectionality must be considered. These are spaces that form an attraction, either primary or secondary, and connection points for all community members regardless of their ethnicity or social standards.

Furthermore,

from

previous

chapters

Figure 4.2.1 Multiplicity - Jeffrey Bolinger

110

then led to their settlement in the city.

Also, the achievement of the concept of interconnectedness relies on many factors either of which is tangible or intangible.

And this brings the research to a potential interpretation for this thesis concept that is a cultural hub. The aim is to integrate within the design of various functions that reness factors (technology, innovation, and entertainment) that were touched upon through the research. By integrating both the imperceptible cultural norms through functions and the concepts behind the architectural elements used in vernacular architecture, sense of multiply, and co-presence in a culturally diverse community like Dubai would be highly enhanced.

Figure 4.2.2 ‘Multiplicity in Architecture’ by Jelle van der Neut

111

CHAPTER

FIVE

P R E C E D E N T

A N A L Y S I S

5.1 Study Cases Introduction 5.1.1 Historical Sites

P. 114 P. 116

5.1.2 Business Sites

P. 118

5.1.3 Religious Sites

P. 120

5.2 Dongdaemun Design Plaza

P. 122

5.3 Yiwu Cultural Square

P. 148

5.4 The Fuzhou Strait Culture and Art Centre P. 170

112

113

P R E C E D E N T

A N A L Y S I S

5.1 Study Cases Introduction To comprehend the characteristics of cultural

The purpose of this part of the thesis is to

related squares in different cultural contexts,

conclude what could be the best features

this section of the research analyzes some

integrated into a cultural square in a

examples of cultural centers and plazas

context like Dubai considering three aspects

in different cities. Two cultural centers and

the culturally diverse community, the local

one plaza, each located in different context,

identity,andtheculturalarchitecturalapproach.

were chosen to be analyze by identifying both the opportunity created and the

contextual aspect that have been covered

design problem solved by each project.

in the thesis emphasizing on the areas

This selection of case studies is the result of a

that are highly populated and culturally

research on various cultural buildings. The

diverse. These areas are summarized in

key question posed by this analysis is, what

historical sites, business sites, and religous sites.

success of these projects? The three chosen case studies highlight these features in a context that is either surrounded by historical sites, Business spaces, or religious buildings.

114

Figure 5.1 Collage of the selected case studies

115

P R E C E D E N T

A N A L Y S I S

5.1.1 Historical Sites

The three projects here are located in historical sites. All three were either erected on

the

grounds

where

archeological

remaining were found, or to a very close proximity

116

to

a

city’s

historical

locations.

The Dongdaemun Design Plaza

Qasr Al Hosn: Al Musallah Prayer Hall & Plaza

Lin’an Sports and Culture Center

By Zaha Hadid Architects

By CEBRA Architects

By UAD Architects

Designed as a cultural hub in the historical

In the centre of the modern metropolis Abu

The project outlines the landscape of the moun-

district of Seoul as well as Korea’s largest

Dhabi lies the city’s oldest and most important

tains and rivers, which is consistent with the pro-

fashion district, the DDP is composed of

building, the Qasr Al Hosn Fort. As an import-

found cultural heritage of the city of Lin’an.

ant element of the cultural park, the prayer hall

Designed with the elevation of the contour

is located at the north-eastern corner of the

lines, it responds to the surrounding mountains

integrated historical, cultural, urban, social,

site

on the overall urban level. The main plaza

and economic aspects of Seoul deduced

buildings

structure

along the main street leads the visitors to the

from this method in order to create a scene

pushed halfway into a large water feature.

-

-

The individual spaces are connected by glass

tom is to be the passage for athletes, instru-

tion and demolition process of Dongdaemun

tubes bridging over water. Each volume con-

ments and media to create a three-dimensional

Stadium started in December 2007, various

tains its own function. Walking from the open

historical

The

landscape of the park along the narrow

Along

Dongdaemun History & Culture Park design

passages between the “rocks”, the noise

slope are arranged to alleviate the road

was changed so that it would work as a

of the city slowly fades away and visitors enter

elevation, docked with landscape belt to form

venue for the exhibition of historical remains.

the cave-like entrance halls (CEBRA 15).

the simple and elegant space effect (Wong 7).

remains

were

found.

Figure 5.1.1a The Dongdaemun Design Plaza Bird’s-Eyeview

as

a

series

that

of

form

small a

interconnected

cave-like

Figure 5.1.1b Al Musallah Paza Bird’s-Eye view

the

road

around,

steps

and

grass

Figure 5.1.1c Lin’an Sports and Culture Center Bird’s-Eyeview

117

P R E C E D E N T

A N A L Y S I S

5.1.2 Business Sites

Surrounded or

by

located

district,

these

in

either the three

local city

markets

economical

cultures

centers

represent the business site highly populated and regularly visited by the city residents.

118

MÉCA Cultural Centre

Yiwu Cultural Square

The Heydar Aliyev Cultural Center

By BIG Architects

By UAD Architects

By Zaha Hadid Architects

BIG effort merges three regional cultural in-

The project is situated in Yiwu Economic - tech-

The cultural centre is set in a public plaza,

stitutions for the visual and performing arts –

nological development Area and beside Yiwu

the ground of which rises up to form the building’s

FRAC, the ECLA, and the OARA – into a single

River and Yiwu Market. it’s a large cultural

wave-like shell. The journey along the zigzag

cultural building. Conceived as a single loop

complex that serves a multitude of purposes

path that climbs through the site culminates in

of public space, the pavement of the

including cultural and recreational activities,

a plaza of white concrete squares; this turns up

promenade rises to form the roof of the main

education and training. The project inherits the

seamlessly to start the contours of the exterior

lobbies, ascends vertically along the stage

courtyard-centered spatial layout of traditional

shell of the cultural center itself, cutting and

tower, bridges across the promenade, and

Chinese architectures. As opposed to arranging

bending, opening the roof for apertures and

then returns vertically to the ground. The prom-

a big hall in the center area of the building, the

entrances. A canyon cutout at the front of the

enade acts as an urban room, allowing for the

architects designed a multi-dimensional court-

shell leads up to a bank of glass doors that opens

yard, which starts from a sunken square, stretch-

into a hall of whiteness. The building interior and

that life is brought into the building. The multiple

es upwards along slopes and big steps and

ramps and stairs of the building create makes

eventually reaches the rooftop garden, featur-

plaza and shape it into an architectural environ-

Figure 5.1.2-b Yiwu Cultural Square Bird’s-Eyeview

Figure 5.1.2-c Heydar Aliyev Culture Center Bird’s-Eyeview

the center publically accessible and welcoming on the inside as well as the outside (BIG 2).

Figure 5.1.2-a MECA cultural Centre Bird’s-Eye view

P R E C E D E N T

A N A L Y S I S

5.1.3 Religious Sites

The three projects sites resemble a religiously tolerant sites. All three projects are either surrounded by Temples, Mosques, or Churches.

This makes the three sites visited by diverse ethnicities and cultures from the city residents.

120

Qinglongshan Cultural Plaza

Sheikh Jaber Al Ahmad Cultural Centre

The Fuzhou Strait Culture and Art Centre

By Atelier DYJG

By Studio Toggle

By PES-Architects

Composed of green islands that connect

Surrounded from the East by “The Family Ca-

Qinglongshan Hill and its plants, and create

thedral’ and from the West by ‘Badr Abdelwa-

are housed in a separate “petal”, which fan

a visual combination between the hill and the

hab Al Rifaai Mosque’ its in one of Kuait’s most

out from a connecting concourse and roof

plaza. Green islands improve green space

religiously diverse sites. It is a Cultural Centre; a

terrace, accessed via public gardens and a

and microclimate, and make the plaza look

multidisciplinary public space owned by the Amiri

plaza on the waterfront of the Minjiang River.

more natural. The green islands and the

Diwan striving to entertain, educate and inspire

PES-Architectes states: “each building has

rainwater gardens at the foot of the mountain

the people of Kuwait. Designed to resemble

a core area — a semi-public, curved gallery

collect the rainwater and runoff from both hill

jewels, JACC acts as the centrepiece of the

that follows the curvature of the main façade

and plaza, which improve the plaza’s ecolo

country’s cultural quarter. The four buildings are

that integrates the public interior space with

gicalfunction. The half-sunken service building

accessed from spacious entrance courtyards and

the landscape of the jasmine gardens around

with green roof at the southeast corner

sit like jewels within a larger public park. Complex

the building and further with the mahangzhou

geometric forms inspired by Islamic architecture

island natural reserve in front of the center.”

create the textured outer skin of each building,

(Stevens 1). The site is surrounded by two religious temples; the ‘Cihangsi Temple’ to the South-

creating a whole and comfortable environment and visual effect. (Chinese-Architects 1).

from the interplay of light and shadow (Castro 2).

East and from the West ‘Longrui Gucha Temple’.

Figure 5.1.3-a Qinglongshan Cultural Plaza Bird’s-Eye view

Figure 5.1.3-b HHS Jaber AlAhmad Culture Center Bird’s-Eyeview

Figure 5.1.3-c The Fuzhou Strait Cultural Centre Bird’s-Eyeview

P R E C E D E N T

A N A L Y S I S

5.2 Dongdaemun Design Plaza

Location: Seoul, South Korea Architect: Principle Designer: Commissioner: Seoul Metropolitan Government Construction: 2007-2018 Site Area: 65,000 m² Gross Floor Area: 86,574 m² Park Area: 30,000 m²

Figure 5.2 (Right) Dongdaemun Design Plaza Bird’s-Eye view

122

123

P R E C E D E N T

A N A L Y S I S

Project Brief

Zaha Hadid Architects

The DDP has been designed as a cultural hub

to

replace

the

Dongdaemun

Hadid Architects) in 1979 and was award-

Stadium at the centre of Dongdaemun.

ed the Pritzker Architecture Prize in 2004.

Focused on design, technology, and art – whose construction has changed

Her architecture is inventive, original and

an entire city block in the Dongdaemun

civic,

c ommercial

that are clearly organized and intuitive.

district

of

Se o u l .

offering

generous

public

spaces

The new site provides inhabitants and visitors a leisure area and a public green

intensely futuristic architecture characterized

space within the densely built urban

by curving façades, sharp angles, and

environment of the neighborhood. The

severe materials such as concrete and steel.

The structures she designed successfully

124

of open-air areas and public structures

they observe great architecture: She took

open to all – has transformed the site into

the strongest materials in the world and

a complex system articulated around

manipulated them to form objects that

a portion of the ancient city walls.

appear soft and sturdy at the same time.

Figure 5.2.1 (Right) DDP Eyel-level aproach

125

P R E C E D E N T

A N A L Y S I S

Context I. Geographical Location Dongdaemun is a historic district of Seoul that is now renowned for its 24-hour shopping and cafes. The site of the DPP is one of the rare historical sites in Seoul, where the eastern gate in the old defensive wall of the city was once located; during the construction of the hub, the remains of a parade ground dating back to the 16th century were discovered and subsequently relocated in the park; the ancient city walls forms the backbone of the composition and physically connects a new public park, created for the occasion, with the Design Plaza building.

126

Figure 5.2.2 DDP Satellite view

127

P R E C E D E N T

A N A L Y S I S

II. Accessibility The site is easy to reach via public transportation, (bus or subway). Also as park themed, it is easily accessed by pedestrians .

III. Adjacent Land Uses As it is located in the centre of the city, the plaza is surrounded by hotels,

shopping

centers

and

markets.

Its a tourist destination of the city and most of the time is a busy location.

128

Figure 5.2.3 DDP Accessibility and Ajacent Land Uses

129

P R E C E D E N T

A N A L Y S I S

Concept cept is,

of

to

“metonymic

create

describes through

something

the the

landscape”

essence medium

that of

of

indirectly

the a

(that place

deduced

landscape, created through the conceptual integration urban,

of

social

its

historical,

cultural,

and

economic

aspects).

In other words, the Symbol instead of the designated thing, the Containing instead of the content, the Abstract for the concrete. The

as if cement, aluminum, steel and stone, despite their evident solidity, had no weight.

130

Figure 5.2.4 (Left) DDP Concept diagram Figure 5.2.5

131

P R E C E D E N T

A N A L Y S I S

Key Elements Informed

by

the

Korean

painting

traditions depicting grand visions of the

Shrubs and Perennials Planting Plan

ever-changing aspects of nature, the Park reinterprets elements of traditional Hibiscus Syriacus

lotus ponds, pebble beds and bamboo groves, with no single feature dominating the perspective. The external landscape of the Park transforms Seoul into a greener city by folding into the internal

shopping/dining

areas

below.

Astilbe chinensis var. davidii

Duranta repens Hydrangea serrata for acuminata

ring the boundary between architec-

132

Dierama pulcherimum

Echinacea purpurea ‘Magnus’

Aster koraiensis Iris Nertschinskia Rhododendron schlippenbachii

es garden. ”The design integrates the park and plaza seamlessly as one, blur-

Echium plantagineum

Rhododendron mucronulatum

The plaza is the reserved and integratpark design neighboring the LED ros-

Hibiscus Syriacus

Aquilegia buergariana var. oxysepata

Echinacea purpurea ‘White Swan’

ed historic parade ground in to the

Buxus microphylla var. koreana

Yukka smallana

Liriope platyphylla Dierama puicherimum Paeonia suffruticosa

Figure 5.2.6 (Left) DDP Shrubs and perennials planting plan Figure 5.2.7 (Right) DDP Bird’s-Eye view showing roof garden

133

P R E C E D E N T

A N A L Y S I S

The plaza is the reserved and integrated historic parade ground in to the

DDP Building

park design neighboring the LED roses garden. park

”The

and

design

plaza

integrates

seamlessly

as

the one,

blurring the boundary between archiHistoric Parade

LED Roses Garden

134

Figure 5.2.8 (Left) DDP LED roses garden Figure 5.2.9 (Right) DDP Site plan

135

P R E C E D E N T

A N A L Y S I S Historic parade ground

1 I

Four roof gardens

2 II

Design Strategy -

spaces below, and also allow daylight

sult of how the context, local culture,

to permeate the building. The 4 green

programmatic

and

spaces constructed on the roof of the

innovative engineering come together

building also provide a new green space

allowing

and

within Seoul’s dense urban jungle, while

landscape to combine in both form

at the same time improve the building’s

and spatial experience - creating a

insulation. The building relies heavily on its

whole new civic space for the city.

solar panels and boasts other eco-friendly

Voids

features like a recycled water system

the

requirements architecture,

puncturing

the

city

surface

of

DDP’s shell LED glow

3 III

Integrated subaway entrance

4 IV

Traditional lKorean garden strategy

5 V

the park offer a look down into the

Park surface voids

6 VI

1

136

2

3

4

5

6

Figure 5.2.10 (Left) DDP Design Strategy digram Figure 5.2.11 (Right) DDP view of the ramp and historic parade

137

P R E C E D E N T

A N A L Y S I S

Materials and Technology I. Materials used in the construction

Discrete optimization

The main materials used for construction are cement, aluminum, steel and stone.

The

building

features

a

shapely

facade made up of 45,133 aluminium panels of varying sizes and curvatures.

Full optimization Paneling soultion

of pixilation and perforation patterns”, the backlit facade is speckled with perforations that allow the building to transform from a solid entity by day into an animated light show by night.

Approximately

40,000

micro-perforat-

ed panels that cover it, whose texture recalls ancient decorations typical of the place, make the light shine through from the inside, creating a complete dematerialization of the whole.

The interiors (acrylic resin, acoustic tiles, 138

Figure 5.2.12 (Top) Comparison of different methods for the same quality thresholds Figure 5.2.13 (Bottom) Smooth aluminum facade composed by 45,133 unique panels Figure 5.2.14 (Right) DDP construction phase Bird’s-Eye view

139

P R E C E D E N T

A N A L Y S I S

-

MPSF (multi-point

forced gypsum) boards, cotton sound

molding press ma-

absorption panels, and imitation marble.

chine) was used to craft the curvaceous panels.

II.The construction technology used.

The design of DDP employs mega-trusses and a space frame (shell structure), minimizing

the

use

of

columns

and

creating a massive interior space with seemingly endless curves. It implement advanced 3-dimensional digital construction services that ensure the highest qualit and

cost

controls.

These

include

3-dimensional Building Information Modelling (BIM) for construction management

140

and

engineering

coordination, Figure 5.2.15 (Top) DDP Aluminum panels isometric view Figure 5.2.16 Figure 5.2.17 (Right) Passage to the inner semi-enclosed courtyard

141

P R E C E D E N T

A N A L Y S I S F4

F3

Circulation i. Circulation within the site pedestrian and vehicular The building is accessible by vehicles from its four sides as it is surrounded by four intersecting public

roads.

square,

As

the

it

features

site

can

the be

F2

city easily

accessed by pedestrian from any direction.

F1

ii. Horizontal and vertical The

multi-dimensional

courtyard,

starts

from

a sunken square, stretches upwards along slopes

and

reaches The

big

the

space

steps

rooftop is

and garden,

organized

with

eventually featuring

B1

circulation

and transforms step by step, and the landscape

presented

to

people

can

be

different as they walk around this place. Such a design technique learns from the space organization of traditional Chinese garden and builds on it.

142

B2

Accessible landscape zones Accesible building zones circulation Principle of vertical circulation

Figure 5.2.18 (Left) Circulation digram Figure 5.2.19 (Middle) Landscape scheme Figure 5.2.20 (Right) One of the many passages through the building

143

P R E C E D E N T

A N A L Y S I S

Program I. Functions DDP is a place for people of all ages; a

1

catalyst for the instigation and exchange of 5

to be explored. The complex is made up of

14 8

Education Centre, Media Centre, Seminar Rooms and Sky Lounge; enabling DDP to present the widest diversity of exhibitions and events that feed the cultural vitality of the city.

144

7 15

9

The variety of public spaces within DDP Museum, Library, Lab and Archives, Children’s

2

2 9

level and four are set below the plaza.

include Exhibition Halls, Convention Halls, Design

3 4

6

eight storeys, of which four sit above ground

10 11

12

1

5

3

4

ideas and for new technologies and media

6

13

8

7

5

11

10

12

9 7

10

11

8

3 12

6

15 4

2

1

5

4 2

14

4

1 2

3

3

6 5

G

1

13

F1

3

6

2

5 3

1

4

F2

F3

Access points Plaza and Lounge Recreational Educational Technology Administration Saniraty BOH Figure 5.2.21 DDP Internal Program

145

P R E C E D E N T

A N A L Y S I S

5.3 Yiwu Cultural Square

Location: Architect: Principle Designer: Danshen Dong Commissioner: The Administrative Committee of Yiwu Economic-technological Development Area Construction: 2015-2018 Site Area: 29,362 m² Gross Floor Area: 82,360 m²

148

Figure 5.3 (Right) Yiwu Cultural Square Bird’s-Eye view

149

P R E C E D E N T

A N A L Y S I S

Project Brief

UAD Architects

The key considerations of the design team

The Architectural Design & Research Institute

in their approach to this large multipurpose cultural complex focussed on how to aptly

established in 1953. UAD has always persisted

convey respect for the local culture, and

in combining design, teaching and research

at

modern

Educational architecture, Cultural architecture,

aspect of the emerging city, without hurting the

Hospitality architecture, Sports and recreational

traditional sentiments of the local community.

activities. UAD main principle in most of their

This desire for balance resulted in an integrated

designs is combing traditional architectural

whole,

coordinating

elements with modern forms and materials; Their

minimalist

designs are fairly known for fusing the context

architecture that also stands out from the city’s

cultural aspects in to a contemporary forms.

the

complex

same

time

incorporating functions

express

the

and inside

a

other buildings, making it a real landmark.

150

Figure 5.3.1 Yiwu Cultural Square Eye-Level aproach

151

P R E C E D E N T

A N A L Y S I S

Context i. Geographical Location

iii. Adjacent Land Uses

The project is situated in Yiwu Economic -

Residential high rises surround the square

technological Area. The surrounding built

from North and East. The square south-East

urban landscape is the home to a huge

facade faces the Yiwu river, where the only

number

separations between Yiwu Cultural Square and

of

high-density

small

scaled,

buildings.

homogenized,

Placed

beside

Yiwu river are the Jiangbin Chouzhou high way

Yiwu River, UAD chose this location for the

and Alibaba Yiwu Industrial Park. The project

project as what the local community lacked

west facade faces the Yiwu shopping centre

was a city landmark and outdoor spaces for

making it visible to the frequent centre visitors.

public activities adjacent to the cities only river. ii. Accessibility residential high rises

A little over an hour away on the bullet train south of Shanghai, Yiwu, an inland city of 1.2 million people, is located. The square is accessible by vehicles via four intersecting roads

surrounding

the

site.

Due

to

it

location beside the river, the square can

Yiwu shoping centre

Alibaba Industrial park Taxiazhou park

be also reached via water transportation.

152

Figure 5.3.2 (Right) Yiwu Cultural Square Satellite view Figure 5.3.3 (Left) Adjacent land uses

153

P R E C E D E N T

A N A L Y S I S

Concept The project inherits the courtyard-centered spatial layout of traditional Chinese architectures. Instead of arranging a big hall in the center area of the building, the architects designed a multi-dimensional courtyard, which starts from a sunken square, stretches upwards along slopes and big steps and eventually reaches the rooftop garden, featuring a smooth circulation and

1

3

offering varying views at each step. Such design draws on the spatial organization techniques of traditional Chinese gardens.

The main entrance with a huge roof resemble a cloud hanging up in the sky. This “gray space” is derived from the spatial pattern of traditional public areas in southern China such as performance stages and ancestral halls, which perfectly meets the demands of local public cultural events.

154

2

4 Figure 5.3.4 (Right) View through Yiwu Cultural Square the multi-dimensional courtyard Figure 5.3.5 (Left) Yiwu Cultural Square concept

155

P R E C E D E N T

A N A L Y S I S

I

II

Key Elements Ramps and wide steps stretch up from the sunken square to the rooftop garden. These stepped seating area fused with the sunken square made it suitable for the organization of public cultural events with Chinese characteristics.

The abstract red corbels under the eaves of the big roof have a unique form, looking like stage curtains and ancient Chinese palaces’ brackets, which

embodies

traditional

oriental

culture.

The red color of metal plates was customized, called “Yiwu Red”. Those plates are characterized by changing hues, which are vermilion in

normal

conditions

and

present

brilliant

golden color under light from certain angles.

Two dominant colors in the Chines culture.

I Yiwu Red metal plates turn gold with sun rays II Public cultural events in the sunken square

156

Figure 5.3.6 (Left) Yiwu CS Key elemts Figure 5.3.7 (Right) Yiwu CS Red corbels

157

P R E C E D E N T

A N A L Y S I S

Design Strategy The architect adopted sustainble strategies to

achieve

the

design

with

Greening

Rate: 16.4%. Resembling the layout of a multi-dimensional courtyard, fresh air and daylighting are brought into the interior space,

which

improves

the

ventilation

and lighting in different functional areas.

The self-shading architecture uses lots of vertical

metal

shades

for

the

façade,

so it solves the western exposure problem

Sunken Square

Urban Space

Multi-dimensional Courtyard

Roof Garden

Vertical Shades

for citizens to get relaxed and have fun, which improves not only the environment quality

but

also

thermal

insulation

and

sound insulation of the building surface

158

Figure 5.3.8 (Left) Yiwu CS design strategy Figure 5.3.9 (Right) Yiwu CS cultural functions practice

159

P R E C E D E N T

A N A L Y S I S

Materials and Technology I. Materials used in the construction

II. The construction technology used.

The South-East and the North-West facades are

The building is supported by steel structure

covered by Aluminum vertical louvers shading

cladded from all sides. In order to reduce

the behind low-e glass (Chu Shui) curtain wall system. This glass is supported by aluminum

mainly

adopts

construction

green

and

methods.

The

energy-saving project

has

the louvered facades of the building lit up and

achieved great energy saving effect by

turns in to a huge screen. Aluminum composite

optimizing architectural design and adopting

panels (Alucobond) where used as the main

advanced mechanical and electrical equip-

cladding material for the building exterior.

ment and other technologies and methods.

Red Alucobond Aluminium Composite Material

Low-e Glass

II

I

160

Figure 5.3.10 (Far left) Yiwu CS Alucobond section detail Figure 5.3.11 (Middle) Yiwu CS Materials lebel Figure 5.3.12 (Right) Yiwu CS LED panels night view

161

P R E C E D E N T

A N A L Y S I S

Circulation I. Circulation within the site pedestrian and vehicular The building is accessible by vehicles from its four sides as it is surrounded by four intersecting roads. As it features the city public

square,

the

site

can

be

easily

accessed by pedestrian from any direction.

II. Horizontal and vertical The multi-dimensional courtyard, starts from a sunken square, stretches upwards along slopes and big steps and eventually reaches the smooth circulation. The space is organized with circulation and transforms step by step, and the landscape presented to people can be different as they walk around this place. Such a design technique learns from the space organization of traditional Chinese garden and builds on it.

162

Landcape Vertical Circulations Landcape Horizontal Circulations Figure 5.3.13 (Left) Yiwu CS Landscape Circulation diagrams Figure 5.3.14 (Right) Yiwu CS exterior view and Interior view

163

P R E C E D E N T

A N A L Y S I S

Program i. Functions The cultural complex serves a multitude of purposes including cultural and recreational

activities,

education

and

training, sports and physical exercise, and

many

other

occasional

events.

Around three sides of the courtyard, the youth center are orderly arranged, while the other side is the main entrance. The

LEVEL F1 14

1

13

2

15

2

14

3

16

3

15

4

17

4

5

18

5

6

19

6

tral halls, which perfectly meets the de-

7

20

7

mands of local public cultural events.

8

8

9

21 22

10

23

10

11

24

11

12

25

12

13

26

wide “gray space” under the entrance is derived from the spatial pattern of traditional public areas in southern China such as performance stages and ances-

166

LEVEL G 1

9

LEVEL F2

LEVEL F3

1

1

14

2

2

15

3

3

16

4

4

5

5

6

6

7

7

8

8

9

9

10

10

11

11

12

12

13

13

Plaza and Lounge Recreational Educational Technology Administration Saniraty BOH Figure 5.3.16 Yiwu CS Internal Program

167

P R E C E D E N T

A N A L Y S I S

5.4 The Fuzhou Strait Culture and Art Centre

Location: Fuzhou, Fujian China Architect: PES-Architects -Helsinki and Shanghai studio Principle Designer: Pekka Salminen Commissioner: awei New Town construction Development Co. Ltd. Construction: 2014-2018 1st Prize Invited International Competition Gross Floor Area: 153,000 m² Height: 64m

170

Figure 5.4 (Right) The Fuzhou Strait Culture and Art CentreBird’s-Eye view

171

P R E C E D E N T

A N A L Y S I S

Project Brief

PES-Architects

The 153,000-square-metre cultural complex

PES Architects has operated in China since

contains a 1,600-seat opera house, 1,000-seat concert hall, a theatre that seats 700, an art exhibition hall, and a cinema. Each of these

the Strait Culture and Art Centre in 2014. Their

functions is housed in a separate “petal”,

projects include complex public buildings such

which fan out from a connecting concourse

as airports and transport terminals, theaters and

and roof terrace, accessed via public gar-

concert halls, sport facilities and mixed-used

dens on the waterfront of the Minjiang River.

development as well as refurbishment projects.

An

Their

promenade

connects

completed

projects

show

a

deep

the centre to a metro station. The project

understanding of the user experience and

offer the city’s residents cultural programmes

sound building practices. Sustainable design,

alongside

family-orient-

in terms of ecological, economical and

(PES-Architects).

architectural quality is evident in their design.

ed

172

underground

commercial

entertainment

and

services

Figure 5.4.1

173

P R E C E D E N T

A N A L Y S I S

Context I. Geographical Location Fuzhou is the capital and one of the largest cities in Fujian Province. It has been ranked one of

III. Adjacent Land Uses The centre’s location in Fuzhou is at South Jiangbin

East

Avenue,

Cangshan

District.

the fastest growing metropolitan areas in the

Minjiang River surrounds the building from the

world. Located on China’s southeastern coast,

North and the East. Adjacent to centre are

Fuzhou became a gateway to the Maritime

the Cihangsi Temple to south East, and the

Silk Road and its trade in prized porcelain.

Longrui Gucha Temple to the West. People

The Strait Culture and Arts Centre is located in

frequently visit these temples for worship

Mawei New Town, facing the Minjiang River.

II. Accessibility The centre can be easy accessed by public transports (metro and the bus) as it is less than 100 meters away from Xiayang bus and metro station, and less than 300 meters away from Liancuo bus and metro station.

Nanjiangbin road is the only separation

Longrui Gucha Temple Cihangsi Temple

between the centre and the city so it’s easily accessed by vehicles and pedestrians.

174

Figure 5.4.2 (Left) SCAC Ajacent Land Uses Figure 5.4.3 (Right) DDP Satellite view

175

P R E C E D E N T

A N A L Y S I S

Concept The design takes inspiration from the petals of a jasmine blossom, Fuzhou’s city flower. This is manifested in the for mal language and color of the architecture.

Dividing the large complex into smaller units-five jasmine petal venues- gives the

Centre

a

more

human

makes

it

easy

for

and

scale

users

to

navigate both indoors and outdoors.

Each building has a core area — a semi-public, curved gallery that follows the

curvature

of

the

main

façade

— that integrates the public interior space

with

the

landscape

of

the

Jasmine Gardens around the building and

176

further

with

zhou

island

natural

of

the

Centre

the reserve

Mahangin

front

(PES-Architects).

Figure 5.4.4 (Top) SCAC concept digram Figure 5.4.5 (Right) SCAC River portrait

177

P R E C E D E N T

A N A L Y S I S 1

Connecting roof terrace

i

2

Key Elements

Jasmine plaza

ii

elements: I. a concourse and a large roof terrace with public services and commercial

and

leisure

3

Roof top garden

facilities. iii

II. The jasmine plaza Above the access areas, green rooftop gardens create a seamless transition to the nearby Minjiang River, inviting visitors

4

Ceramic tiles and louvres

to take a stroll. It performs as an elevated

iv

plaza that overlooks the neighboring river.

Ceramic is used as the project’s main

1

2

3

4

historical context of the maritime Silk Road trade connection between China and the rest of the world. Chinese white-coloured ceramic tiles and louvres were used to clad the exterior of all of the buildings, underlining the jasmine blossom aesthetic.

178

Figure 5.4.6 (Bottom-Left) SCAC Key Elements Diagram Figure 5.4.7 (Right) SCAC Bird’s-Eye view

179

P R E C E D E N T

A N A L Y S I S

I

Courtyards

Design Strategy The main façade ceramic louvre section

an “arm” tying them to the secondary

is lens-shaped, relating to the form used in

structural system. Bar the custom-designed

the

clips, a similar fastening system is repeated

massing

maximizes

of

the

the

buildings.

shading

This

capacity

also

of

the

between

the

primary

and

secondary

vast glass façade. The cascading gaps

structural systems; rows of arms, which are

left

adjustable to compensate for installation

in

the

facade

and

angle

of

the

tolerances,

protrude

from

the

main

II

steel columns towards the curved pipe. borders of the ceramic tiles that thicken

Intermediate courtyards within the elevated

to address the growing width of gaps. To

terrace

enhance

cooling

the

Louvred facade

building

mitigate direct solar gain, PES-Architects developed a computer script to establish the

I

II

angle, the fixed 1.8-metre-long louvers – and the distance between each- an ecological strategy

that

of

building.

the

lowers

the

The

cooling

end

of

load each

baguette is outfitted with an aluminum plate

adhered

with

a

neoprene

layer

2

4

1 3

1 White ceramic louvers and secondary pipe structures

2 Glazing/aluminum surface (louvers on upper part)

3 Main steel columns 4 Bamboo cladding

Main facade layers

and shaped to match its profile. Each clip consists of an aluminum “hand” and 180

Figure 5.4.8 (Top) SCAC design strategy digrams Figure 5.4.9 (Right) SCAC Ceramic facade eye-level view

181

P R E C E D E N T

A N A L Y S I S

I

Materials and Technology I. Materials used in the construction

II V

PES Architects’ primary materials for the project were

steel,

concrete,

terracotta

panels,

III

bamboo and a custom-developed ceramic.

IV

According to acoustical demands, the “China White” material was designed for the interiors and exteriors. Based on extensive studies

VI

carried out with the acousticians, two types of acoustic panels were developed: an engraved panel and a mosaic tile panel. The walls are clad with solid CNC cut gold-yellow bamboo blocks, shaped according to the acoustic needs.

182

I. White glazed ceramic louvers

IV. Main Steel Columns

II. Double curved secondary louver support structure

V. Aluminium cladding

III. Structural “arms” connecting main columns and secondary structure

VI. Glazing (not shown in the graphics) with bamboo wall in the background

Figure 5.4.10 (Top) SCAC ceramic screen facade structural layers Figure 5.4.11 (Bottom) SCAC ceramic tile typology -interior sppaces and halls Figure 5.4.12 (Right) SCAC facade eye-level approach view

183

P R E C E D E N T

A N A L Y S I S

II. The construction technology used.

The images show the complex steel skeleton of the centre’s curvaceous petals and in places the white ceramic tiles and louvres being applied

of lighting and other technical equipment.

Figure 5.4.13 (Top) SCAC Ceramic screen facade Figure 5.4.14 (Bottom) SCAC facade radiation analysis

184

Figure 5.3.15 (Right) SCAC construction phase eye-level view

185

P R E C E D E N T

A N A L Y S I S

Circulation I. Circulation within the site pedestrian and vehicular between the buildings where this liquid design the site. The site landscape was designed to be fully accessible by pedestrians while limited primary vehicular roads exist within the site.

II. Horizontal and vertical From the entrance, one moves through curved of these buildings vary in their dimensions, but all have the same almond-shaped core to house their respective functions. Each almond has its own corridor that connects all the buildings and guides the way to the central foyer.

186

Landscape Access Points Vehicular Circulations Pedestrian Circulations Principle of horizontal Circulations Principle of vertical Circulations Figure 5.3.16 (Left) Circulation digrams Figure 5.3.17 (Right) Eye-level view of Minjiang river under the building

187

P R E C E D E N T

A N A L Y S I S

Program I. Functions Five main buildings have been erected on the grounds: a concert hall for classical performances, an opera house, a theatre hall, exhibition spaces for art and a cinema.

Each complex houses a different venue – an opera house, a concert hall, a multi-purpose theatre, an exhibition space for artworks and a separate yet complementary characteristics.

Curved galleries are at the entrance of each building where these spaces, which can be used for public exhibitions and other activities.

188

Plaza and Lounge Recreational Technology Administration Saniraty BOH Figure 5.3.18 (Left) SCAC Plaza side Elevation Figure 5.3.19 (Right) SCAC Internal Program

189

S E C T I O N TWO PROGRAM &

192

S

I

T

E A N A L Y S I S

Figure C Dubai Sky line from Dubai desert

“Cultures and climates differ all over the world, but people are the same. They’ll gather in public if you give them a good place place to do it.”

Jan Gehl

193

CHAPTER

S I X

PROGRAMMING AND S P A T I A L A N A LY S I S

196

6.1 Spatial Program and Criteria

P. 198

6.2 Spatial Organization

P. 206

6.3 Spatial relationship

P. 207

6.4 Relationship Matrix

P. 208

197

PROGRAMMING AND S P A T I A L A N A LY S I S

Interactive Diverse

6.1 Spatial Program and Criteria A cultural plaza at one of Dubai’s most culturally diverse community renowned

Cooperative

for it annual visits by hundreds of peo-

Sociability

ple. The proposed program embrace spaces for people of all ages and all cultures; a catalyst for the instigation and exchange of ideas and cultures.

The

variety

included

in

of the

public

spaces

program

enable

Connected

the proposed design to present the widest diversity of exhbitions and events that feed the cultural vitality of the city.

Access & Linkages

The the large number of the religious complex visitors

is the main initia-

tor for the proposed cultural plaza.

Accessible Convenient

198

Celebratory

Vital

Uses & Activities Sustainable

Plaza Space Walkable

Comfort & Image

Attractive Sittable Figure 6.1 Plaza Space key attributes

199

PROGRAMMING AND S P A T I A L ANALYSIS

Poposed Project Program

Function

S H O U L D P O S S I B L E W O U L D P U B L I C S E M I - P R I - P R I V A T E DAY LIGHT & NO. BE

NICE

V

A

T

E

OF

V I E W S S P A C E S

A P P R O X .

T

O

T

A

AREA

Plaza Square

205

(m²)

1

14,000

MULTIPLE

160

Retail Area

5

100

Cafe Corner

1

200

Exhibition Spaces

4

300

Conventional Area

2

500

Rooftop Platform

1

12,000

Sports Area

1

300

Theaters and Rehersal Areas

1

1,000

Children Area

2

70

Educational and Research

2

200

Technology and Design

2

110

Administrative Areas

2

580

washrooms and Lockers

MULTIPLE

120

Mechanical Spaces

MULTIPLE

400

Technical Spaces

MULTIPLE

300

BOH Services

MULTIPLE

400

Outdoor Spaces and Services

MULTIPLE

1,200

Reception and Lounges

L

Cafe

Entrance

Sports Area

6.2 Spatial Organization

PLAZA Sociability

Conventional Area

Recreational Retail

PLAZA Acitivity

Childeren Museum

Library

Exhibition

Childeren Library

Theatre

PLAZA

Design Lab

Education

Seminar Space

Exhibition Galleries

PLAZA Creativity

Technology PLAZA

Administration

Comfortability

BOH

Workspace

Experimental space

206

PROGRAMMING AND S P A T I A L A N A LY S I S

Reorientation

6.3

Education

Spatial Relationship

Entrance

Library Children Library Workshop Space Reprographic

Plaza

Interactive Reception Lounge Cafe

Technology

Retail Roof Platform Conventional Hall

Physical Support Sprts Area Spa Club Lockers

Plaza

Exhange Exhibition Galleries Theater

Conenction Management Ofc. Seminar Room Medical Corner Lounge Archive

Comfortability

Sociability

Administration

Diverse

Recreational

Convenient Experimental Area design Lab Art Studio

Plaza

Exhibition

Vital

BOH- Sevices

Control Circulation Parking Security Room Technical Rooms Mechanical Rooms Storagr Restrooms

207

Restroom

Storage

Technical Room Mechanical Room

Medical Room

Seminar Room

Management Ofc.

Experimental Area Design Lab

Workshop Space

Reprographic Room

Children Library

Libray

Exhibition Galleries

Lockers

Theater

Sports Area

Conventional Hall

Roof Platform

Retail Space

Cafe

Lounge

Entrance

Plaza

6.4 Relationship Matrix Plaza Entrance Lounge Cafe Retail Space Roof Platform Conventional Hall Sports Area Theater Lockers Exhibition Galleries Libray Children Library Reprographic Room Workshop Space Experimental Area Design Lab Management Ofc. Seminar Room Medical Room Technical Room Mechanical Room Storage Restroom

Should Possible Would be Nice

208

CHAPTER

SEVEN

S I T E CONTEXT A N D A N A LY S I S

7.1 Why Dubai?

7.2 Comparision Analysis in Urban Scale 7.3 Site Determination 7.4 Site Diagnosis

209

210

S I T E CONTEXT A N D A N A LY S I S

7.1 Why Dubai?

beliefs. The migration rate in Dubai is one

the chosen sites. As the thesis targets this -

211

Figure 7.1

UAE as a Mojor Context

QATAR

QATAR

OMAN

OMAN

SAUDI ARABIA

I

SAUDI ARABIA

I 0

II

II

Figure 7.1a Figure 7.1b

212

GULF OF OMAN

ARABIAN GULF

Mountains

OMAN

urban Farms Forestry

SAUDI ARABIA

213

Figure 7.1c

GULF OF OMAN

ARABIAN GULF

OMAN

SAUDI ARABIA

Figure 7.1dUAE Typography

214

5

7.1.1 Dubai - Urban Context and socio-demographics 7

4

2 6 6

4

3

1 1- Abu Dhabi 3- Dubai

Figure 7.1.1

Metropolitan Centre District Centre

Figure 7.1.1a Figure 7.1.1b

100%

89%

37%

Melbourne

Los Angeles

Toronto

Brussels

Dubai

0%

Singapore

28%

27% 23%

23%

22%

21%

20%

Males 5,167 4,142 12,220 26,624 60,857 76,409

Total

Females

10,612

10,612

8,130 17,851 39,102 84,056 112,924

167,870

214,317

253,930

Age categories 75+

3,988

70 - 74

5,631

65 - 69

12,478

60 - 64

23,199

55 - 59

36,515

50 - 54

46,447

45 - 49

333,906

302,702

79,976

419,642

423,543

103,170 54,506 69,757 80,313 87,730

103,170 136,005

35 - 39 139,982

245,604 177,698

40 - 44 116,940

563,525 392,012

217

19%

Milan

37%

Chicago

38%

Montreal

39%

Stockholm

39%

Frankfurt

39%

129,735 67,906 48,664

30 - 34 25 - 29 20 - 24 15 - 19

66,248

10 - 14

159,270

78,957

05 - 09

166,539

78,809

00 - 04

Figure 7.1.1c Figure 7.1.1d (Bottom)

3 , 1 3 6 , 4 0 0 Population

tion of total perma-

of permanent Emirati

Total

1 , 1 5 5 , 0 0 0 Temporary present indiduals in the emirate during peak hours

Figure 7.1.1e Dubai population in 2019

218

All other countries

China Sri Lanka Nepal Egypt Iran

28.0%

21.2%

India

2.5% 3.7% 3.7% 5.0%

15.0% 5.6%

Philippines

6.6%

Pakistan Bangladesh

8.7%

No religion Other religions 2.8% 2.0%

Buddhisim Hindiusm Christianity

4.0%

6.6%

12.6%

72.0%

Islam

Figure 7.1.1-f (Top) Dubai population by Ethnicity in 2019 Figure 7.1.1-g (Bottom)

219

Christmas

Oct 8 - Oct 10

July

UAE Commemoration Day

June

August

September

October

Easter

December

Dec 2 April - May

April

Mar 7 - Mar 9

Jan 24

Russian

July

Sep 10

May

Mar 28

Jan 4 - Jan 12

April

Dec 1

Sep 7

March

March

J a n u a r y February

Oct

May

March 28

Chinese

Feb 21 - Feb 23

Dubai Worll Cup

April 14

Jan 1

Celebration

Dubai Summer

Dubai Fitness Chalenge UAE National Day UAE Flag Day Religious Celebration

Dubai Marathon

Figure 7.1.1h

220

criteria. Each of the three sites frame a ing on the areas that are highly pop-

ii. Business Site - Dubai Business Bay iii. Religious Site - Jebel Ali Village

221

Historical Site

Creek

Potential Sites Chosen are Based on the judgment Criteria:

three sites are chosen to be further

Chosen Sites Category

Sites Comparision Analysis

Business Site

Religous Site

7.1.2 Three Potential Sites Selection and Premise

Site

Al Ras

Popoulation Density

Ethnic Diversity

L

M

Potential Design Parameters

Favoured Site

-

M

YES

I

L

M

M

-

M

YES

M

M

-

L

M

-

M

M

-

M

L

-

BUSINESS SITES

Business Bay

Al Quoz 1

Al Qusais 3

Jebel Ali Village

M

M

YES

II

III Figure 7.1.2a Figure 7.1.2b

222

S I T E CONTEXT A N D A N A LY S I S

7.2 Comparison Analysis in Urban Scale The analysis is based on the following physical attributes: Location Urban aspects

223

224

7.2.1 Location

Al Ras - Historical Site

Business Bay - Business Site

Jebel Ali Village - Religious Site

7.2.2 Historical Context and Site Surroundings

Al Ras, Dubai Creek, Deira

227

Figure 7.2.2a

228

Village

Al Ras Metro Station

Dubai Souk

Maktoum Defence Station

Al Ras

ba Marine Transport Station 229

transformation

of

Dubai

into

the

-

-

-

Figure 7.2.2b Figure 7.2.2c

230

Business Bay West, Business Bay (Commercial Site)

231

Figure 7.2.2d

232

The Binary Station Lake Central

Waterfront

The Oberoi Centre

Leica UAE

Dubai Canal Marasi Marine Transport Station 233

-

-

-

coming onto the market here than Figure 7.2.2e (Left) Figure 7.2.2f

234

Church Complex, Jebel Ali Village, Jebel Ali (Religious Site)

Figure 7.2.2g

Jebel Ali Al Muntazah Nanak Darbar

Church

237

Jebel Ali

Jebel Ali Village near Ibn Battuta

setting for a significant moment in

-

Figure 7.2.2h (Left) Figure 7.2.2i

238

7.2.3 Urban Aspects Site A

Site B - Business Site

Site C - Religious Site

Vehicular Circuation

239

Figure 7.2.3a

Site A

Site B - Business Site

Site C - Religious Site

Mass

Figure 7.2.3b

240

7.2.4 Wind Direction

Site A

241

Site B - Business Site

Site C - Religious Site

Figure 7.2.4a

Site A

Site B - Business Site

Site C - Religious Site

Figure 7.2.4b

242

7.2.5 Ethnic Diversity - by site’s sector Site A

Site B - Business Site FC = 98.8%

Site C - Religious Site FC = 100%

2.1

FC = Foreign Citizenship

243

14.1 2.3 0 1.2

0.4 0%

Ethnicity By Sector

1.2

Ethnicity By Sector

Ethnicity By Sector

70.9

100%

0%

33.2

0.8 1.2 0.4

100%

0%

100%

African

Emirati

igure 7.2.5 -Information is based on DSC Dubai Masterplan statistics by sector

7.2.6 Population Density - by site’s sector

Density

Total

%

88.19 11.81

Site C - Religious Site

Density

Density by Sector

Site B - Business Site

Density by Sector

Density by Sector

Site A

Density

Total

Total

%

% Figure 7.2.6

244

7.2.7 Popular Times Business Site

Religious Site

7.2.8 Key Potential Design Parameters Site A

Site B - Business Site

Site C - Religious Site

Figure 7.2.7 Figure 7.2.8

7.3 Site Determination Criteria

Al Ras

Location

Business Bay Jebel Ali Village 3 4

Urban aspects

Total Score

4

2

3

3

2

3

3

3

3

4

3

3

28

3

3

3

34 Score 5 = Score 1 = Figure 7.3

247

248

7.4 Site Diagnosis Through this chapter, the determined site will be further analysed based on the following aspects: site history cultural characteristics site access site circulation site geography

site special elements.

Figure 7.4

249

7.4.1 Site History

-

-

-

Figure 7.4.1a (Left) Jabel Ali Village 1977 Figure 7.4.1b Figure 7.4.1c

1

9

7

0

1

9

8

0

1

9

9

0

2

0

0

0

2

0

1

0

2

0

1

9

Figure 7.4.1d Figure 7.4.1e

7.4.2 Site Views

2

9

10

1

8

1

2

3

4

4

7

Figure 7.4.2a Figure 7.4.2b

3

7

7

9

10 Figure 7.4.2c

7.4.3 Site Geography o

o

40 C 100 % o

30 C

80 %

o

20 C 40 % o

10 C

20 %

o

0C

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

0%

Dec

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Dec

30

20

%

10

10

able as long as temperatures are

April - August

September - March

0

0 Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Oct

Dec

Rainfall Statistics

30

Days

20

10

0

Jan Feb 0

>1

Mar Apr May Jun >12

Jul

Aug Sep Oct

Dec

>19

Topography

9th August 2020

7.4.4 Site Access and Circulation Network

Bus Stations Metro Station - 1km from site Vehicular Circulation

7.4.5 Site Surrounding

Religious Commercial

Water Site Composition

Rligous Complex A

Building R e l i g o u s Occupancy ConventionName

A

Guru

Devision

al Space

Sikhism

High

St. Mina

Coptic

Medium

Church

Orthodox

Nanak Darbar

B B

F

C D

C

E

D

Mor Ignatus Jacobite Church

Syrian

Medium

Orthodox

Christ

Angelican

Medium

Shared

Dubai

Angelican -

High

Shared

Evan-

Congrega-

gelical

tional

Church

Church

E

F

Archdiocese

Roum

Medium

Orthodox

Church St. Francis of Assisi

Roman

High

Shared

High

Shared

Catholic

Church The Mar

Marthoman

Thoma

Congrega-

Church

tion

Figure 7.4.5

7.4.6 Site Strengths and Special Elements

Energy Metro Station

Multiple Bus Stations

1. Easily accessible to public transportation 8. No unpleasent smells

7.4.7 Site Problems Perceptible

9. Lack of recreational spaces

7.5

tion from the relienhance the link

Figure 7.5

-

proper parking spaces

interactions through kiosk commercial stalls

S ECTION

THREE

C O N C E P T D E S I G N A N D PROCESS IMPLEMENTATION

267

FigureD Dubai Sky line from the Jumeirah beach

“Architecture belongs to culture not to civilization” Alvar Alto

268

CHAPTER

EIGHT

D E S I G N

A P P R O A C H

P. 271

271

8.1 Mental Map

P. 273

8.2 First Concept -Portal

P.275

8.3 Seconed Concept -Labyrinth

P.279

8.4 Third Concept -Courtyard

P. 283

272

D E S I G N

A P P R O A C H

8.1 Mental Map This

mental

map

represents

the

ideas derived from the investigated

PORTAL ARCADE VERANDA LABYRINTH FOUNTAIN PORTICO COURTYARD

topics in the thesis. After analyzing each

building

within

the

religious

complex in the proposed site, outdoor shared gathering spaces are among one of the site’s main weaknesses.

Therefore the strategy is to change the perception of the site as an island

for

segregated

worshipers

and create unity without compromising the harmonious autonomy of the several existing religions. Through the thesis, cultural architectural elements were investigated. The three concepts are derived from three of these which are shared by several cultures and exist in the Emarati architecture. These three architectural elements are the portal, 273

Labyrinth,

and

courtyard.

Figure 8.1 Selected architectural elements for the concept design

CONNECT

SUSTAINABLE APPROACH

PUBLIC SPACE

PARK DESIGN APPROACH

EXHANGE OF IDEAS

RELIGIOUS COMPLEX

PROJECT STRATEGY

PLAZA SPACE

URBAN ASPECTS

CULTURALLY SIGNIFICANT

COMMUNITY SPACE

SITE ANALYSIS

DESIGN CONCEPT

CASE STUDIES

POTENTIAL DESIGN APPROACH

COMMUNITY GATHERING

ETHNIC DENSITY

CULTURAL CONNECTION

SUSTAINABLE

STRENGTH & PROBLEMS CULTURE

RECOGNITION

CELEBRATING

ENCOURAGING

ARCHITECTURE

RESPECT

ACKNOWLEDGE

VALUING

EMPOWER

PORTAL

ARCADE

FOUNTAIN

VERANDA

PORTICO

LABYRINTH

COURTYARD

274

CHAPTER

N I N E

B I B L I O G R A P H Y AND L I S T O F F I G U R E S

287

11.1. Bibliography

P. 289

11.2. List of Figures

P. 295

288

W O R K S C I T E D AND L I S T O F F I G U R E S

9.1 Works Cited Ali, Asif. “Passive Cooling and Vernacularism in Mughal Buildings in North India: A Source of Inspiration forSustainable Development.” International Transaction Journal of Engineering, Management, & Applied Sciences & Technologies, vol. 4, no. 1, 2012, pp. 15-27. Research Gate, 12 Oct. 2012, www.research gate.net/figure/Verandah-worked-as-a-buffer-between-indoor-and-outdoor-spaces-while-it-was-a-centre-of_fig6_267627217. Accessed 17 Oct. 2020.

Astbury, Jon. “Valerio Olgiati Creates Huge Red Concrete Canopy at Entrance to Bahrain’s Pearling Path.” Dezeen, 20 Apr. 2019, pp 1-11. www.dezeen. com/2019/04/20/valerio-olgiati-canopy-pearling-path- concrete-architecture/. Accessed 12 Dec. 2020.

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Experimental Psychology. 2003 ;50(3):171-183. https://psycnet.apa.org/record/2003-06596-004. Accessed Oct. 16, 2020 Bognár, Botond. Material Immaterial: The New Work of Kengo Kuma. Princeton Architectural Press, 2009. EBSCOhost, search.ebscohost.com/login.aspx?di rect=true&AuthType=cookie,ip,url&db=edshlc&AN=edshlc.012146397.4&site=eds-live&scope=site. Accessed Dec. 07, 2020 Castro, Fernanda. “Luminous Drapes / Studio Toggle.” ArchDaily, 27 Mar. 2018, pp 1-15, www.archdaily.com/891311/luminous-drapes-studio-toggle. Accessed Dec. 07, 2020.

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9.2 List of Figures Figure Cover page: Northrop, Amanda “Diversity-How to Manage Anxiety during a Pandamic”. Vox, https://www.vox.com/identities/2020/3/21/21188362/man age-anxiety-pandemic.

Figure A: Mojodxb “High Resolution Dubai Skyline Wallpaper”. Reddit, https://www.reddit.com/r/wallpaper/comments/gj9sdv/high_resolution_dubai_skyline_wallpaper_1920x1080/ Figure 1.1.1: Green,Nicholas. “Unsplash”. The Conversation https://theconversation.com/dont-let-your-phone-interrupt-the-good-vibe-of-a-summer-music-festi val-116946 Figure 1.1.2: Tesoror, Angel. “PressReader.com - Your Favorite Newspapers and Magazines.” Pressreader, Www.Pressreader.com, www.pressreader.com/uae/khaleejtimes/20190521/281646781601101.

Figure 1.1.3: By Author.

Figure 1.1.4: Hinriches, Kit. “Tolerance” Typeroom, https://www.typeroom.eu/article/tolerance-poster-show-mirko-ili-campaigns-humanity-milton-glaser-more Figure 1.2.1: Vertovec, Steven. “Super-Diversity and Its Implications.” Ethnic and Racial Studies, http://is.muni.cz/el/1423/podzim2013/SOC585/um/43504955/ vertovec_on_superdiversity_26 774422.pdf.

Figure 1.2.2: Noroc, Mihaela. “Photographer captures beauty around the world” ˆ, https://edition.cnn.com/style/article/feat-atlas-of-beauty-photography-project/ index.html Figure 1.2.3: Noroc, Mihaela. “Photographer captures beauty around the world” , https://edition.cnn.com/style/article/feat-atlas-of-beauty-photography-project/ index.html.

Figure 1.2.4: By Author.

Figure 1.2.5: BBC News “Ethnic minority graduates ‘face jobs gap”. BBC News, https://www.bbc.com/news/uk-41536312 Figure 1.2.6: Singh, Matt. “Ethnic Minorities and Coronavirus” NC Politics, https://www.ncpolitics.uk/2020/10/ethnic-minorities-and-coronavirus/ Figure 1.2.7: Curkovic, Frank. Pixabay, https://pixabay.com/photos/personal-network-social-media-3108155/ Figure 1.3.1:

Dezeen

Figure 1.3.2: “Whitman’s O Captain! My Captain!”. https://en.wikipedia.org/wiki/Historical_poetry#/media/File:Letter_and_corrected_reprint_of_Walt_Whitman’s_O_ Captain,_My_Captain_with_comments_by_author,_9_February_1888.jpg

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Figure 1.3.3: Pawl, Timothy. “The God-man resurrected: a philosophical problem for the Incarnation” OUPblog, The God-man resurrected: a philosophical problem for the Incarnation Figure 1.3.4: By Author.

Figure 1.4.1: Wells, Benjamin. “Constructing Diversity”. arcspace, https://arcspace.com/column/constructing-diversity/ Figure 1.4.2: Wells, Benjamin. “Constructing Diversity”. arcspace, https://arcspace.com/column/constructing-diversity/ Figure 2.1.1: RTA. “Al Masar”. rta.ae, https://www.rta.ae/links/magazine/masar/Al_Masar_128_Eng.pdf Figure 2.1.2: UAE Government. “Mohammed Bin Rashid Launches 50-Year Chart and Dubai Principles”. https://www.rta.ae/links/magazine/masar/Al_Ma sar_128_Eng.pdf.

Figure 2.1.3: Pikist. “Dubai fountain” Pikist, https://www.pikist.com/search?q=crowd&page=3 Figure 2.2.1: “DSC Home.” Www.Dsc.Gov.Ae, 3 Oct. 2020, www.dsc.gov.ae/en-us/Pages/default.aspx.

Figure 2.2.2: “DSC Home.” Www.Dsc.Gov.Ae, 3 Oct. 2020, www.dsc.gov.ae/en-us/Pages/default.aspx.

Figure 2.2.3: “Why Cultural Diversity Important”. Partnership International, https://www.partnershipinternational.ie/why-is-cultural-diversity-important/ Figure 2.2.4: Nayeem, Sanya. “UAE: 5.5 million free iftar meals” gulfnews, https://gulfnews.com/uae/uae-55-million-free-iftar-meals-1.2042459 Figure 2.2.5: Pikist. “Dubai fountain” Pikist, https://www.pikist.com/search?q=crowd&page=3 Figure 2.2.6: By Author.

Figure 2.3.1: Pikist. “Dubai Water Canal” Pikist, https://www.pikist.com/search?q=crowd&page=3 Figure 2.3.2: Pikist. “Dubai Al Satwa: Labor Break Spaces” Pikist, https://www.pikist.com/search?q=crowd&page=3 Figure 2.3.3: Lynda. “Ode to Coffee”. Longhorns and Camels, https://longhornsandcamels.wordpress.com/2013/05/05/ode-to-coffee/ Figure 2.4.1: By Author.

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