Architecture is first and foremost, the combination of three interrelated elements: art, technology, and culture. An architect’s mission is to create and visualize an organized space, via a 2D-3D drawing, corresponding to the premises needs of a given activity, while respecting all the binding or favourable factors.
After the preliminary stage of the documentary research and the usual surveys, the architect will then analyze the physical, regulatory and financial data to draw the basic directions of the construction programme and this before the start of the design work. On the other hand, the ideological orientation of the designer remains decisive as to the optional choices of the project if the client master of the works does not relay them explicitly.
The type of education provided in our architecture schools was supposed to meet the quality and quantity exigences of the national market. This is far from the case at the EPAU (Ecole Polytechnique d’Architecture et d’Urbanisme) of the 1970s. The art of building largely European inspired the type of training offered, thus unsuited to the reality and needs of the country. Foreign teachers with foreign pedagogical support without the slightest anchor to the existence of the public building have made us, inevitably, international architects in our own country and in other words, formed by Europe, for Europe. As proof of this reality, during our various internships in German architectural agencies, we were well-integrated, and our level of competence was relatively satisfactory, (Neufert and Mittag oblige). In addition to national market-oriented training, the contemporary model should not be overlooked and will be integrated into the curriculum. This will give the architect a level of competence that is acceptable on a global scale and will allow him to master the various stages of the design process for an international-style project.
The legal vacuum in the construction sector has severely reduced the curricula of their regulatory content. To this end, a complementary module should have been provided at the end of the course of study in the form of courses documented and presented by specialists from the relevant ministries.
It was not until the Planning Act 90-29 of 1 December 1990 that this void was finally filled. This law was promulgated, for the first time, under the leadership of the very far-sighted political leader, Mouloud Hamrouche.
In the world of work, this inadequate training forced new graduates to endure the vagaries of the profession under the orders of authoritarian directors, “party activists”, state-backed architectural consultants of the time. This situation of weakness was mainly due to the fault in the architect designing technical and regulatory elements specific to the field of the public building for which the latter, freshly graduated, was not or unprepared.
With the passage of time and experience in the field of planning: permits, demolitions and plots, the weak point of the planning files relates to two elements of great importance: integration into the site and planning regulations.
The first element requires respect for the built environment at the architectural level (style, and material) (alignment and height, etc.).
The second element is to master the existing building and urban planning regulations to comply with them without diminishing the architectural quality of the project. For example, the work presented by a colleague shows, at first sight, a small building built on sloping ground. This highly coloured and glazed building shines with its lack of integration within the site, and as a result, it follows a very straight and visually disturbing urban image.
Chirac, then mayor of Paris, had to refuse to grant a building permit to the posterity project presented by Mitterrand because of its unsuited style and appearance for the built environment. Similarly, in Blida, a billionaire had a castle built in a former residential area of the 1950s. The result is shocking because of the incompatibility of styles, an unnatural marriage. He copied a villa in the upscale suburbs of Stockholm and glued it to his property. It’s like building a Moorish house in the middle of Manhattan !!!
In conclusion, I believe that the designer architect, through his project, will impact on the lifestyle of future users; thus, his gesture becomes a social act. Design work must begin with all elements of site integration and current regulation in mind. Respect for general alignments, the heights of the buildings do not exceed the width of the access roads with the H≤L formula due to the sunshine requirements of the facades. Avoid overly greedy ground rights.
The city of tomorrow must be somewhat airy and sunny (sanitary distancing) with large planted or not green spaces. These bouquets of greenery will be the lungs of the city and its places of relaxation and socialization. The dormitory cities are to be banned and replaced by living neighbourhood units, integrating daytime activity, and joining the periphery of urban centres, thus promoting constructive and soothing social relations. Provide quality accompanying equipment related to unit density. The latter should be limited to 150 dwellings max per hectare to allow structural integration (roads, networks and equipment) to the existing urban neighbourhood. Make the most of locally available materials, taking climate change into account. Prefer non-fossil fuels for urban transport. Great importance is to give to non-polluting traffic with a network of bike paths and numerous pedestrian walkways. The narrow alleyways of the former centres will be transformed into a pedestrian zone and decorated with decorative elements planted and removable in case of emergency. Leisure and tourism businesses will be privileged. This view is very sketchy and does not include all the problems related to architecture and urban planning. Besides, the establishment of collective social housing developments will have to be distributed over several external sites following the rules of density and height. Never schedule too much housing construction on the same location. Always split these locations to less than 500 dwellings maximum per site. This beneficial condition will allow the future neighbourhood unit to integrate quickly and easily within the existing urban fabric and will not overwhelm the capacity of the surrounding facilities. Finally, it should be noted that northern Algeria is located on a seismic zone of type 2, medium intensity, therefore subject of periodic and unpredictable seismic movement. This natural characteristic requires respect for a building height not to exceed ranging from R-5 to R-7 to the maximum. Moreover, recent studies on high-rise buildings have shown that the quality of life in a high-rise dwelling is inversely proportional to its distance to the ground. People living on the 15th floor tend to have more chronic diseases than those of the 7th and lower levels.
The typical habit of local authorities to happily substitute for town planning specialists has done a great deal of damage to the development of cities. Decisions involving the future of the city for at least a century should have been discussed with all the specialists in the field: architects, urban planners, and sociologists in order to find the best proposals and thus avoid the disastrous and irreversible effects of unplanned developments. A city council should be created, headed by local officials, and assisted by technicians with proven competence. This council should discuss, request changes, and possibly approve all development plans for the city under a program set out by the PDAU (Plan Directeur d’Aménagement et d’Urbanisme) containing the basic guidelines and itself in line with the regional development plan.
As militant attacks get closer, Katarina Höije tells the story of a Malian town defiantly continuing its annual tradition of replastering a mosque. Here is :
An Ancient Mud Mosque Annually Restored
Rickety plastic chairs and tables line the winding streets around Djenné’s main square, where the mosque looms over the town’s low mud-brick houses. There are plates of riz au grastasty rice with meat and vegetables—and chilled soft drinks. Ivorian Coupé-Décalé music reverberates on soft mud walls. Djenné, a town of about 35,000 in the central region of Mali, is famous for its traditional mud-brick architecture and its UNESCO-protected mosque. Fifty-two feet (16 meters) high and built on a 300-foot-long (90-meter) platform to protect it from flooding, the mosque is the world’s largest mud-brick building.
Young men and boys run down the front steps of the mosque after dropping off baskets of mud. (Photo: Annie Risemberg, The New Traditional)
Touching up its walls each year—crépissage, the French word for ‘plastering’—is a proud and exuberant ritual that involves the whole town. “The crépissage is the most important event of the year, even bigger than Eid al-Fitr, Tabaski (the Malian equivalent of Christmas), and marking the end of Ramadan,” says Yaro, a 30-year-old lawyer and host of the celebration known as ‘la nuit de veille.’ Sitting under a tarpaulin strung between two neem trees, Yaro watches as the crowds sway through the street.
The partygoers won’t sleep until after the event. The revelry will strengthen them ahead of tomorrow’s big task, Yaro claims, sipping a soft drink. “Tonight we party, and tomorrow we will celebrate our mosque and Djenné’s cultural heritage.” The residents of Djenné come together to put a new layer of clay on their mosque every April, just before the rainy season. The crépissage is both a necessary maintenance task to prevent the mosque’s walls from crumbling and an elaborate festival that celebrates Djenné’s heritage, faith, and community. It’s also an act of defiance.
The increasing instability in Mali’s central region—fueled by inter-tribal conflicts and growing numbers of militant and jihadist groups exploiting the absence of state security forces—now threatens Djenné and its sacred annual ritual. Local militants—some linked to the Group for the Support of Islam and Muslims (JNIM), formed by the 2017 merger of several extremist groups operating in Mali—have invaded towns, destroyed markets, and spread their influence in central Mali.
A group of women carrying water needed for the mud mixture. Men and boys are responsible for bringing the mud to the mosque, while and women and girls are tasked with bringing water from the river. (Photo: Annie Risemberg, The New Traditional)
So far, Djenné and its mosque have been spared, but the security situation in the region continues to deteriorate, and more frequent attacks are being carried out in Djenné’s orbit. “We knew that the militants were getting closer to Djenné,” says town chief Sidi Yéya Maiga at his home the day before the crépissage. This year the town council even took the extraordinary step of debating whether or not to cancel their cherished tradition.
In an act of collective resistance, they decided the show must go on. On the day before the crépissage, Nouhoum Touré, the master among Djenné’s 250 masons, heads down to the riverbank to check on the mud that has been left to soak for 20 days.
The crépissage is the most important event in Mali. (Photo: Annie Risemberg, The New Traditional)
It’s the height of the dry season, and the river has shrunk to shallow puddles and inlets. The round pools that store clay until it’s time for the crépissage look like pockmarks on the riverbed. The mud comes from further down the river and is transported here by trucks and donkey carts. Younger masons then break the blocks into smaller chunks and mix them with water. In the final stages, rice husks are added to the mud, turning it into a soft and sticky paste. The rice works like a glue, holding the mud together and keeping it from cracking as it dries. The young masons then carry the mixture, in wicker baskets, to pits in front of the mosque in preparation for the event.
Early in the morning on the long-awaited day of the crépissage, Djenné’s residents gather by the mosque and wait for Touré to smear the first blob of mud on the wall. This is the starting gun.
There is a roar from the crowd as dozens of young men—some masons, some apprentices—run to the mosque. Smaller groups of boys raise wooden ladders against the mosque wall. Carrying wicker baskets full of dripping-wet clay from the pits next to the mosque, the young men begin scrambling up the façade, using ladders to reach the wooden poles protruding from the walls. Perching perilously on the wooden scaffolding, they pick up large blobs of clay and smear them on the walls.
The Djenné mosque the day before the crépissage. (Photo: Annie Risemberg, The New Traditional)
Nientao, the mosque’s guardian, weaves through the crowd, his pockets filled with sweets for the workers. Thousands of muddy feet trample the paths around the mosque. As the sun begins to rise over Djenné, turning shapeless shadows into dark silhouettes, a group of boys and masons tackle the minarets from the roof of the mosque.
Four hours later, the morning sun shines on the newly plastered mosque. Dark, wet clay patches on the dried mud give it a sickly look. Touré is covered in mud all the way from his plastic sandals, which have miraculously stayed on his feet, to the top of his turban. “I think we did very well,” he says, sitting in the shade of the mosque. “Normally, we re-mud the mosque over two days. This time we managed to get it done in only one day.”
Residents carrying mud, from pits to the mosque ahead of the crépissage. (Photo: Annie Risemberg, The New Traditional)
A little later, there is a crack as the loudspeakers come on, then the sound of Djenné’s mayor, Balfine Yaro, clearing his throat. Everyone looks on in silence as he makes his way to the front of the crowd. He declares Djenneka Raws the winning team. Djelika Kantao and Yoboucaïna have prevailed. For the winners, there is pride, honor, and a cash prize of 50,000 West African francs, or about $90 (€80). “With the money,” says Kantao, beaming with pride, “I will buy new solar panels for the neighborhood, so we no longer have to live in darkness.”
Delve into a world of traditions being kept alive unique individuals through The New Traditional. This story and images are featured in the book.
Impact on cashflow could become more significant in coming months, say directorsSHOW FULLSCREEN
Zaha Hadid has become the first architect to warn of the impact covid-19 could have on its bottom line.
In accounts filed at Companies House for Zaha Hadid Holdings, which were signed off on 27 May by director Brian Clarke, the practice said: “The impact [of covid-19] on the business to date has been relatively minor in terms of current profitability and cashflow, however, this may be more significant over the coming months.”
It added: “The company and wider group is able to utilise covid-19 governmental support, can reduce costs in line with sales and has available external credit facilities that are yet to be fully utilised.”
The firm, which said competition for UK work was “currently very challenging”, also flagged worries over how many staff it could recruit from overseas to work at its London office.
It said: “There is considerable uncertainty on the post-Brexit visa arrangements for skilled persons moving to and working in the UK.”
In April, Eric Parry warned that his staff could not work from home indefinitely without productivity being hit.
Zaha Hadid Holdings’ turnover in the year to April 2019 jumped one third to £62m but pre-tax profit slipped from £4.8m to £1.9m. The firm said it had been hit by exceptional costs of £2.6m which it said were non-project legal and consulting fees.
The practice is locked in a legal wrangle, with one director, Patrik Schumacher, pitted against his fellow executors of Zaha Hadid’s will.
The directors estimate the value of the firm’s head office, Bowling Green Lane in Clerkenwell, to be £11m while Shad Thames, the former home of the Design Museum which it aquired to house the Zaha Hadid Foundation in 2013, had increased in value to £7.25m since tenants were found, they said. The accounts said the firm also sold three properties in the US last year.
The accounts, which paint a similar picture to those issued by subsidiary Zaha Hadid Limited in April, also said headcount rose 17% in the year to the end of April 2019, from 361 to 424.
In April a spokesman for the practice said a small number of staff had been furloughed but that there had been no redundancies or pay cuts. It was also planning to recruit more staff in China where it had won new work.
Historic multi-year collaboration between three leaders in their industry to increase renewable energy production and use
Wind turbine towers have typically been limited to a height of under 100 meters, as they are traditionally built in steel or precast concrete
Printing the base directly on-site with 3D-printed concrete technology will enable the creation of larger bases and cost-effective taller hybrid towers, reaching up to 200 meters
Taller towers capture stronger winds, thereby generating more energy at a lower cost
First prototype successfully printed in October 2019
GE Renewable Energy, COBOD and LafargeHolcim announced today that they will partner to co-develop wind turbines with optimized 3D printed concrete bases, reaching record heights up to 200 meters. The three partners will undertake a multi-year collaboration to develop this innovative solution, which will increase renewable energy production while lowering the Levelized Cost of Energy (LCOE) and optimizing construction costs. The partners will produce ultimately a wind turbine prototype with a printed pedestal, and a production ready printer and materials range to scale up production. The first prototype, a 10-meter high tower pedestal, was successfully printed in October 2019 in Copenhagen. By exploring ways to economically develop taller towers that capture stronger winds, the three partners aim to generate more renewable energy per turbine.
Building on the industry-leading expertise of each partner, this collaboration aims to accelerate the access and use of renewable energy worldwide. GE Renewable Energy will provide expertise related to the design, manufacture and commercialization of wind turbines, COBOD will focus on the robotics automation and 3D printing and LafargeHolcim will design the tailor-made concrete material, its processing and application.
“Concrete 3D printing is a very promising technology for us, as its incredible design flexibility expands the realm of construction possibilities. Being both a user and promoter of clean energy, we are delighted to be putting our material and design expertise to work in this groundbreaking project, enabling cost efficient construction of tall wind turbine towers and accelerating access to renewable energy,” explained Edelio Bermejo, Head of R&D for LafargeHolcim.
Henrik Lund-Nielsen, founder of COBOD International A/S added: “We are extremely proud to be working with world-class companies like GE Renewable Energy and LafargeHolcim. With our groundbreaking 3D printing technology combined with the competence and resources of our partners, we are convinced that this disruptive move within the wind turbines industry will help drive lower costs and faster execution times, to benefit customers and lower the CO2 footprint from the production of energy.
“3D printing is in GE’s DNA and we believe that Large Format Additive Manufacturing will bring disruptive potential to the Wind Industry. Concrete printing has advanced significantly over the last five years and we believe is getting closer to have real application in the industrial world. We are committed to taking full advantage of this technology both from the design flexibility it allows as well as for the logistic simplification it enables on such massive components,” said Matteo Bellucci Advanced Manufacturing Technology Leader for GE Renewable Energy.
Traditionally built in steel or precast concrete, wind turbine towers have typically been limited to a height of under 100 meters, as the width of the base cannot exceed the 4.5-meter diameter that can be transported by road, without excessive additional costs. Printing a variable height base directly on-site with 3D-printed concrete technology will enable the construction of towers up to 150 to 200 meters tall. Typically, a 5 MW turbine at 80 meters generates, yearly, 15.1 GWh. In comparison, the same turbine at 160 meters would generate 20.2 GWh, or more than 33% extra power.
About LafargeHolcim LafargeHolcim is the global leader in building materials and solutions and active in four business segments: Cement, Aggregates, Ready-Mix Concrete and Solutions & Products. Its ambition is to lead the industry in reducing carbon emissions and shifting towards low-carbon construction. With the strongest R&D organization in the industry, the company seeks to constantly introduce and promote high-quality and sustainable building materials and solutions to its customers worldwide – whether individual homebuilders or developers of major infrastructure projects. LafargeHolcim employs over 70,000 employees in over 70 countries and has a portfolio that is equally balanced between developing and mature markets.
About COBOD International A/S COBOD International is a globally leading 3D construction printing company, supplying 3D construction printing technology to customers in Asia, The Middle East, Europe and the US. COBOD intent to disrupt the construction industry and any industry where concrete structures are being applied. COBOD has made headlines multiple times the last couple of years from the 3D printing of the first fully permitted building in Europe in 2017, over the delivery of the largest construction printer in the world measuring 27 meters in length and 10 meter in height to the live 3D printing of a small house per day during the Bautec, a German construction exhibition. German Peri Group, the leading provider of manual concrete casting form work equipment is a minority shareholder of COBOD. Follow us on www.COBOD.com
About GE Renewable Energy GE Renewable Energy is a $15 billion business which combines one of the broadest portfolios in the renewable energy industry to provide end-to-end solutions for our customers demanding reliable and affordable green power. Combining onshore and offshore wind, blades, hydro, storage, utility-scale solar, and grid solutions as well as hybrid renewables and digital services offerings, GE Renewable Energy has installed more than 400+ gigawatts of clean renewable energy and equipped more than 90 percent of utilities worldwide with its grid solutions. With nearly 40,000 employees present in more than 80 countries, GE Renewable Energy creates value for customers seeking to power the world with affordable, reliable and sustainable green electrons.
Mirna Abdulaal in Egyptian Streets suggests that only some ‘Radical’: Empowering Creative Youth and Local Designers in the Arab Region could awaken the currently dormant creation movement, particularly that in the art and design.
There’s one thing that unites generally all creative youth in the MENA region: their lack of representation and trouble in finding a platform that documents their story for others to see, hear and share.
Most media platforms and magazines in the region often fail to represent creatives, and particularly creative youth, through visual and imaginative presentations that help to truly capture their story. The concept of creative journalism and using art, aesthetics, powerful images and podcasts to brand a particular designer or artist is very much absent, with most resorting to mere commercial and celebrity-focused features rather than stories and dialogues to push the creative scene forward.
Nour Hassan, writer and founder of the platform ‘Radical Contemporary’, is the first to recognize this gap and introduce new understandings of how we can represent creatives in media and journalism. “When I started radical, I didn’t have any reference or any online magazine that gathers all creatives together, and it takes a lot of research. So I wanted to help people avoid what I faced in the beginning through this platform,” she says.
“If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask?”
Initially founded in 2017 as an online magazine that speaks about fashion, art and culture, Hassan began to branch out and do further projects, such as photoshoots, production, and podcasts. Eventually, she expanded into PR and creative consulting, growing from a magazine to a platform that also helps build and market brands.
For her, it is more than just representation, it is also creation – a ‘radical’ and creative process that aims to fundamentally change something in society or culture. In one of her projects, ‘Runaway Love’, she combines storytelling and visual journalism in an attempt to touch upon certain issues, such as the pressure of marriage for young girls. “It was shot on a Felucca boat and it talked about how young girls are pressured to get married, and how she is trying to escape that pressure by riding the Felucca. The photoshoot is a story that is also relevant to the culture,” she notes.
“I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region.”
Coming from Egypt and growing up in Saudi Arabia, she noticed that there also aren’t any important dialogues and conversations being done on the work of young creatives across the region, which led her to launch ‘The Radical Contemporary Podcast’, allowing several creatives to speak about their creative process and provide a space for others to learn and grow. “I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region and their work,” she tells Egyptian Streets, “If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask? And so, this is where I come in and bring them to let them talk in the podcast.”
In times of fast-paced communication and the growth of digital media, consuming content for longer periods of time has become even more difficult, which is why it has become ever more imperative for platforms to push creative journalism ahead and utilize podcasting effectively. “Podcasting is the future of content, it is the new radio,” Hassan says, “Right now, we cannot consume content for more than 15 seconds, so a podcast is like an alternative that helps you listen to the conversations even while you’re busy doing other things. It’s a different way of learning.”
“Podcasting is the future of content, it is the new radio”
It is also a way to introduce more critical conversations in the creative industry, particularly as the fashion industry continues to grow exponentially and young designers are entering the scene. “Our biggest problem is that we don’t have critics. We don’t have someone who critiques the work that is being produced, which is really important in helping young creatives grow and reach their potential. We need to work on being more critical and having critical conversations so we can develop,” she adds.
While it is easy to compare this to other magazines such as Vogue Arabia, Radical Contemporary goes even beyond that, as it is focused on building the creative soul in the region. It is expressive, visual, critical, and communicative – providing creatives an opportunity to learn and document their work. “I think we are the first generation telling our story. From the times of Umm Kalthoum up till now, there is this huge gap, and I don’t think there was a generation before us that really documented their work for others to find and look at.”
“I think we are the first generation telling our story.”
On top of that, it is also supporting local and regional brands, concerning that there is a lack of access to platforms that represent them. “At a time right now where it can be very hard for brands to survive, it is important to support our platform and in turn support these regional brands,” Hassan says.
For future writers, designers, artists, photographers and just about every creative in the region, Radical Contemporary represents the heart of their growth and expression in the rapidly changing region of the Middle East. It represents the face of a new generation, and a new region.
Architecture can be a tool for social change, and the belief in this statement is what motivates the work of many architectural NGOs who strive to address the lack of adequate shelter, generate social and economic change, and build resilience in communities. These NGOs operate in two major areas, disaster relief, and community development, with many organisations pursuing both types of actions. This article rounds-up several architecture-related foundations that act in emergencies, covering their expertise, past involvement in humanitarian crises, as well as the means to join them in their efforts.
Natural disasters affect more than 250 million people each year, and according to UNHCR statistics, 70.8 million people have been displaced worldwide due to conflict and violence. One billion people live in slums, and the number is expected to grow to two billion by 2030. Add the lack of clean water and sanitation, and you have a comprehensive picture of a silent humanitarian crisis, with the need for adequate shelter at its core. Nonetheless, NGOs aside, the profession has recently started to reclaim its social responsibility, as more and more architects engage with humanitarian architecture. For those looking for ways to use their professional skills for the betterment of society, these NGOs are an excellent place to start.
Habitat for Humanity
The well-established non-profit housing organisation works to help vulnerable communities overcome the lack of adequate shelter. Created in 1976, the foundation works in over 70 countries and since its inception has helped more than 29 million people attain a suitable home. The organisation pursues its vision of affordable, decent housing for everyone in several different ways. In a participatory process, volunteers and future dwellers work together, creating suitable housing solutions, in the form of new construction or repairs and improvements to existing homes. Habitat for Humanity also participates in disaster response, through its dedicated program and addresses the need for sanitation and clean water by creating the necessary infrastructure. From local, long-term or as part of an event, there are several types of volunteering with Habitat for Humanity, which are covered in detail here.
Architectes de l’Urgence
Founded in 2001, the NGO Architectes de l’Urgence (AU) focuses on re-establishing essential infrastructure (hospitals, schools, water supply, roads) in post-disaster situations. With branches in France, Canada and Switzerland, the organisation benefits from 19 years of experience with more than 30 reconstruction programs in 33 countries. Since its inception, over 1600 architects, engineers and additional support staff have participated in AU’s diverse aid initiatives. Most of their projects are not limited to immediate post-disaster response but incorporate rebuilding strategies stretching over several years. To catch a glimpse of their sustained endeavour, over the course of eight years, AU has rebuilt 12 healthcare facilities, 12 schools, one orphanage and over 1500 houses in Haiti, following the devastating tsunami. The organisation also helped in the Philippines, Sri Lanka, or Afghanistan. The foundation recruits architects and civil engineers on a regular basis for international solidarity missions. The type of involvement varies, from student internships, long-term volunteer work, short missions for experienced professionals. All information regarding requirements, recruitment process and forms of participation is available here.
Open Architecture Collaborative
Open Architecture Collaborative is, to some extent, a successor to Architecture for Humanity. The latter filed for bankruptcy in 2015, stirring some controversy, but several of its international chapters picked up the pieces of the organisation, drew knowledge from the 16 years of experience with humanitarian architecture and created a new organism. The NGO’s philosophy is rooted in participatory design and its mission is achieving community engagement for marginalised people through architectural means. The new organisation is still in its infancy, but it derives its know-how from AfH’s successful past initiatives, like the Haiti rebuilding program. The NGO now focuses on local, small-scale projects like the Kids Skating Series in Nigeria. For information on how to get involved with the organisation, whether as a design firm or an individual volunteer visit their dedicated page.
Emergency Architecture & Human Rights
The NGO focusses on aiding socially vulnerable communities around the globe who are dealing with crises or face inequality of any kind. Regarding architecture as the embodiment of a universal human right, their mission centres around resilience, be it social, economic, or environmental. Founded in 2015 in Denmark and with sister organisations in Santiago de Chile and Rome, Emergency Architecture & Human Rights has completed various humanitarian projects in Europe, Africa, the Middle East and South America. Within the NGO’s initiatives, the EAHR team, volunteers and the local communities work side by side to design and construct projects such as the school in the Za’atari Refugee Camp in Jordan. The organisation focuses on working with the communities, using locally sourced materials, while advancing local construction methods. In addition, the foundation held workshops on architecture for humanitarian emergencies at several universities around the world. For upcoming internships and volunteer opportunities, get in touch with the organisation using the information provided on their website.
Architecture Sans Frontières International
This collaborative network of NGOs brings together more than 20 independent organisations in an effort to consolidate their individual endeavours. The history of the network began in 1979, with the creation of Architectes Sans Frontières in France, followed 13 years later by the namesake organisation in Spain. Now spread across 30 countries on all five continents, ASF International creates a framework for cooperation among the different entities and assists in the formation of new local organisations. With the stated mission of improving the built environment for people in need, all member foundations work for community development and engage in post-disaster and relief interventions. Each organisation has its own recruitment process and provides various types of volunteering and involvement for individuals who are interested in helping disadvantaged communities. See the complete list of member organisations and get in touch with any of them here.
GlobalData shares its forecasts for construction industries across the world in the midst of the coronavirus pandemic.
The revised and further-cut construction output growth forecast for the Middle East and North Africa (MENA) region for the year 2020 is -1.1%, down from the previous projection of -0.8% (as of mid-April) and 4.6% (Q4 2019 update) due to the soaring COVID-19 cases in the region, and the subsequent curfews and lockdown measures, according to GlobalData, a leading data and analytics company.
Yasmine Ghozzi, Economist at GlobalData, says: “The slump in oil prices will dent the sector’s growth. GlobalData expects cutbacks in spending and, in particular, cuts to capital spending on infrastructure, especially for oil and gas dependent countries given that investment plans were set on assumptions for oil at US$50 – US$80 per barrel. The IMF currently predicts that GDP growth in the MENA region will fall to – 3.3% in 2020 because of its exposure to lower oil prices and the extensive disruption in travel and tourism.”
Governments across the MENA region offered direct support to boost activity in construction and infrastructure. In the case of Egypt, for example, the government guided construction companies operating in public projects are set to resume work in full capacity by early April, following a period of two weeks of reduced business.
For Saudi Arabia, the biggest construction market in the region, the country’s finance minister announced plans to make deep cuts to public spending, so any further stimulus to the construction sector would rely on the amount of reserves the government is willing to draw upon, given the limit that lower oil prices have put on government revenues.
It remains to be seen whether governments in the region will lend direct support to companies facing acute financial pressure in the sector.
Ghozzi concludes: “In addition, construction, real estate, and oil and gas sectors are among the most exposed to the business risks created by COVID-19. Force majeure clauses in contracts are being more widely used by firms needing to scale back or rearrange their business plans amid the pandemic. The issue came under the spotlight when the Iraqi government announced the pandemic as an event of force majeure for all projects and contracts. Although construction sites are generally exempted from the lockdowns imposed in many countries in the MENA region, there is an expectation that legal claims, especially from contractors, will be filed citing the crisis as a justifiable reason for failure to deliver work on time.”
Construction is the well-known process for men of building houses with some unskilled labours. Thank you for reading the misconcepted sentence. Yes, It’s often seen with an eye of simplicity and frivolous job, which isn’t. We are in much of society’s mindset that a myth is more nurtured than a fact.
Call me old fashioned, but I believe there’s something to be said for doing good, honest work. Construction is sort of the unsung hero of our culture; vital to our infrastructure. Skilled tradesmen build the places we work in, the homes we live and play in, the roads we commute on, and more. Economy’s strength is tightly linked to the construction industry keeping country to move forward. A construction site is moreover different from a person sitting in front of laptop obeying a 9 to 5 cubicle job; it’s an area of daily new challenges to pass on to the next level. It requires a diversity of skills employing everyone deserving to choose as a career.
This is a technical journey of any structure or thoughts right from the foundation to finishing and external works. In building construction, we study how the civil works are carried out in the field after they have been planned by an architect and structurally designed by an engineer. A toddler whenever points his finger towards the swinging tower crane enjoying like the dance of a robot, it’s the duty of the project team to work successfully building block by block over heights.
As we are talking about the heights, so let me take you to the most heighted man-made structure! No required nominees, it’s Burj Khalifa, Dubai (or you can even argue with one of the most famous buildings because 830 metres is really a good number).
Heard about World One? A structure finding it’s place to be the tallest residential skyscraper, yet under construction of Lodha group, Mumbai.
I’ve my stomach full with all these heights as you will mostly get in my next blog; until then let’s see some amazing constructions. The great man-made river project in Libya has listed as the biggest irrigation project in the world. Underneath of the Sahara Desert, it consists of 2800 pipes carrying 6.5 million cubic metres of freshwater every day.
The most beautiful building in Jakarta, Regatta Hotel complex was designed by Atelier Enam. The project’s centrepiece is the aerodynamic hotel itself that overlooks the Java sea. Now wondered that struggle to be in top 10 beautiful buildings!
But, who knew that continuous endless building of structures would permit to cease for a no while. Because of the nature of his projects, all industries and companies are surged down to a force majeure. The workers are avoiding the work at construction sites due to fear of coronavirus infection. Threatening situations are discovered due to this pandemic endangering future of the construction world.
People are particularly trying to reach out finding alternatives as I mentioned in my previous blog (A virus outside the computer). Also, many cities have adopted a definition of essential construction that allows any work necessary to build, operate, maintain or manufacture essential infrastructure without limitation construction or the constructions required in response to this public health emergency, hospital constructions, etc.
According to the industry body, there are around 20,000 ongoing projects across the country and construction work is being undertaken in around 18,000 of them i.e. involvement of workforce of about 8.5 million in construction work alone! These numbers are breath-taking when health concerns. The scenario implies that the construction work will be slow, pushing costs upward given the interest and debt servicing needed for that extra period. Definitely it will have its own consequences but would be better far than doing nothing. Hoping the same as everyone to defeat this monster, hiding myself from the fact that I’m bored writing about it ; )
Buildings kill millions of birds. Here’s how to reduce the toll
As high-rise cities grow upwards and outwards, increasing numbers of birds die by crashing into glass buildings each year. And of course, many others break beaks, wings and legs or suffer other physical harm. But we can help eradicate the danger by good design.
Most research into building-related bird deaths has been done in the United States and Canada, where cities such as Toronto and New York City are located on bird migration paths. In New York City alone, the death toll from flying into buildings is about 200,000 birds a year.
Across the US and Canada, bird populations have shrunk by about 3 billion since 1970. The causes include loss of habitat and urbanisation, pesticides and the effects of global warming, which reduces food sources.
And that’s where the problems start with high-rise buildings. Most of them are much taller than the height at which birds fly. In Melbourne, for example, Australia 108 is 316 metres, Eureka 300 metres, Aurora 270 metres and Rialto 251 metres. The list is growing as the city expands vertically.
The paradigm of high-rise gothams, New York City, has hundreds of skyscrapers, most with fully glass, reflective walls. One World Trade is 541 metres high, the 1931 Empire State is 381 metres (although not all glass) and even the city’s 100th-highest building, 712 Fifth Avenue, is 198 metres.
To add to the problems of this forest of glass the city requires buildings to provide rooftop green places. These attract roosting birds, which then launch off inside the canyons of reflective glass walls – often mistaking these for open sky or trees reflected from behind.
A problem of lighting and reflections
Most cities today contain predominantly glass buildings – about 60% of the external wall surface. These buildings do not rely on visible frames, as in the past, and have very limited or no openable windows (for human safety reasons). They are fully air-conditioned, of course.
Birds cannot recognise daylight reflections and glass does not appear to them to be solid. If it is clear they see it as the image beyond the glass. They can also be caught in building cul-de-sac courtyards – open spaces with closed ends are traps.
At night, the problem is light from buildings, which may disorientate birds. Birds are drawn to lights at night. Glass walls then simply act as targets.
Architectural elements like awnings, screens, grilles, shutters and verandas deter birds from hitting buildings. Opaque glass also provides a warning.
Birds see ultraviolet light, which humans cannot. Some manufacturers are now developing glass with patterns using a mixed UV wavelength range that alerts birds but has no effect on human sight.
New York City recently passed a bird-friendly law requiring all new buildings and building alterations (at least under 23 metres tall, where most fly) be designed so birds can recognise glass. Windows must be “fritted” using applied labels, dots, stripes and so on.
Combinations of methods are being used to scare or warn away birds from flying into glass walls. These range from dummy hawks (a natural enemy) and actual falcons and hawks, which scare birds, to balloons (like those used during the London Blitz in the second world war), scary noises and gas cannons … even other dead birds.
Researchers are using lasers to produce light ray disturbance in cities especially at night and on dark days.
Noise can be effective, although birds do acclimatise if the noises are produced full-time. However, noise used as a “sonic net” can effectively drown out bird chatter and that interference forces them to move on looking for quietness. The technology has been used at airports, for example.
A zen curtain developed in Brisbane has worked at the University of Queensland. This approach uses an open curtain of ropes strung on the side of buildings. These flutter in the breeze, making patterns and shadows on glass, which birds don’t like.
These zen curtains can also be used to make windows on a house safer for birds. However, such a device would take some doing for the huge structures of a metropolis.
More common, and best adopted at the design phase of a building, is to mark window glass so birds can see it. Just as we etch images on glass doors to alert people, we can apply a label or decal to a window as a warning to birds. Even using interior blinds semi-open will deter birds.
Birds make cities friendlier as part of the shared environment. We have a responsibility to provide safe flying and security from the effects of human habitation and construction, and we know how to achieve that.
This article has been updated to correct the figure for the estimated number of birds killed by the cats in the US to “up to 4 billion”, not 4 million.
Sidewalk Labs prototype would be the world’s tallest wood-frame building. That is good to know but Reach for the Sky—Wood Frame Building Will Be 35 Storiesby Roopinder Tara posted on January 28, 2020, could seriously be envisaged if the world were to be limited to the northern as well as to the Equatorial zones where forestry abounds. Transporting however wooden building materials from and/or to any other area of the world would probably cancel any significant environmental benefits.
Given that wood is flammable and biodegradable, it may never have been an ideal building material. We have steel for that. However, in many parts of the world, wood is available in abundance, so it is pressed into service for our buildings. Wood framing is common in North America for residential buildings but less so for commercial buildings. Wood framing has largely been unheard for use in high rises—until today, when plans of a 35-story wood frame skyscraper, part of Sidewalk Labs development project in Toronto, popped into my inbox.
No building this tall has ever been built with a wood frame. It’s not even close. The current tallest wood-frame building is Norway’s 85.4m-tall Mjøstårnet. The second tallest is the 53m-tall Brock Commons Tallwood House in Vancouver. Both buildings are 18 stories.
Sidewalk Labs has a digital model, a proof of concept it calls the PMX Tower (Proto-Model X). There’s a lot to be worked out when making a wooden building this tall.
The PMX plans do not call for using plain, ordinary wood, but “mass wood,” or a wood-mostly material that when glued together is called “glulam” and is used for ultra-long beams and columns. It is called nail laminated timber (NLT), and the plywood-like cross-laminated timber (CLT), which is used for floor and roof decks as well as bearing walls. Mass wood can be made fire resistant with the addition of chemical fire retardants, though this certainly makes the material less green. Mass wood’s manufacturers claim that the carbon emissions produced from making it are far less than the emissions created in making of steel or concrete—though cutting down trees is hardly green. Mass wood looks better than steel or concrete. We cannot argue with that. Plans for PMX call for a wooden external skeleton. (Image courtesy of medium.com.)
With a much lower strength-to-weight ratio than steel, wood of any type poses special challenges. But with a Sidewalk Labs team dead set on sustainability, a steel frame and concrete curtain walls were a nonstarter. Still, duplicating the same type of frame used in steel and concrete construction with wood would have resulted in ridiculously massive structural elements. A “timber core” design would have walls 5-feet thick. Not only would walls this thick require too many trees, they would also be difficult to manufacture and ship. In addition, they would take up too much floor space. PMX is going with a design that uses a wooden “exoskeleton” consisting of diagonal bracing and vertical columns on the outside of the building that support a 10-inch-thick “lean wood core.”
The BIM was done with Autodesk Revit and is hosted on BIM 360, a cloud-based construction management application.
A Counterintuitive Counterweight
A concrete and steel tower would be 2.5 times as heavy as a wooden skyscraper. But whereas light weight is an asset in aircraft and rockets that seek to escape gravity, it can be a liability in buildings that need to stay put. Preliminary analysis showed the 35-story wood frame construction had as much deflection in the wind as a 40- to 50-story building constructed with a steel frame.
The PMX team found that it had to allow a lot of steel into the design—in the form of a 70-ton steel weight, part of a system that is designed to dampen vibration.
While it may seem counterintuitive—perhaps even dangerous—to have massive weight on top of a building, that is exactly what civil engineers may order for a tall building that is swaying too much or is expected to do so. Tall buildings can have deflections of several feet on their top floors—unsettling and even sickening their occupants. A tuned mass dampener (TMD) system, can be designed in or retrofitted. A TMD with a precisely calculated amount of mass made of concrete, steel, lead or other dense material stays still due to its own inertia when a tall building initially bends— as a result of the ground shaking or a gust of wind. Dampeners attached to the mass absorb the energy and act to limit the number of oscillations.
TMD systems have been around for some time, but the increase in super tall and very thin tall buildings has made them even more sought after. Shanghai, New York and Dubai have several buildings with TMDs. Taiwan’s Taipei 101 tower uses a system that makes its TMD, with a suspended golden ball, a visible design feature.
The Canadian National Tower, at one time the tallest structure in North America at 102m, also in Toronto’s downtown, has two doughnut-shaped steel rings, one at 488m and the other at 503m—each weighing 9 metric tons—that serve as TMDs. They are tuned to the 2nd and 4th mode shape of the tower, while the 1st and 3rd mode are controlled by the prestressed concrete and don’t require additional damping.
Boston’s John Hancock Tower had two 30-ton sliding dampers installed retroactively that were designed to reduce the building’s sway by 40 percent to 50 percent.
TMDs can take several forms, including sliding, rolling or swinging weights.
Not Your Parents Prefab
As much as possible, the PMX designer sought to make the building off-site in parts, and then assemble the parts on-site. This is the long sought-after advantage manufacturing has enjoyed, while construction has lagged behind. PMX is making staircases, floor panels, walls, and kitchen and bathroom “pods” standard and assembled in assembly lines, transporting them to the waterfront site on trucks, and then snapping them together … like Legos, according to this article. These “cassettes,” as the sub-assemblies are called, will be made in 25 steps, with each step estimated to take 25 minutes. It is assembly line techniques at work, rather than the painstaking, laborious, material wasting current practice of laying floors, pouring concrete, joining gigantic steel members, and so on, that is the common conventional construction trade practice.
In addition to busting out of age-old construction practices, the PMX also hopes to bust out of the lowly status that prefab construction can’t seem to shake, like a screw-top wine. The plan’s exoskeleton can be draped in any manner of dress and color—a far cry from the welcome to middle-class, prefab homes in cookie cutter neighborhoods that gave prefab a low-class status.
Sidewalk Labs has a $1.3 billion project to develop Quayside, a 12-acre area in Toronto on the banks of Lake Ontario. Sidewalk Labs, part of Alphabet Inc., which also owns Google, was formed to create communities “from the Internet up.” When complete, Sidewalk Toronto would potentially bring 44,000 jobs, many of them tech jobs, to Toronto’s downtown. It was to be a test bed for technology close to city scale, including roads especially designed for autonomous vehicles. But the proposal may have represented too much technology for Toronto’s residents. Sidewalk Labs plans to pool and make public “urban data” gathered from those who were in Sidewalk Toronto. The city will be voting on whether to move forward with the Sidewalk Labs proposal.
The Sharjah Architectural Triennial could be one of the built environment professionals gatherings of importance in the MENA region. Here is an article dated 25 August 2019 written by Rima Alsammarae who gives a fairly well-described idea of some thoughts of this event’s main contributor. And according to this latter, the Sharjah Architecture Triennial will address climate change.
The event was founded in 2017 and is led by Sheikh Khalid Al Qasimi, Chairman of Sharjah Urban Planning Council.The Triennial editions aim to highlight topical aspects of architecture and urbanism that have local relevance and to engage Sharjah’s existing built environment and social fabric.
Middle East Architect (MEA) speaks with curator Adrian Lahoud, who says the triennial is an invitation to ‘radically rethink’ questions about architecture and address climate change – ‘the most urgent challenge facing humanity today’.
The coastal emirate of Sharjah is the third largest city in the United Arab Emirates – and it’s considered the cultural capital of the country. Among the many cultural centres, government institutions that support art-led initiatives, and the ongoing regeneration of heritage spaces, the emirate’s creative realm is further defined by the upcoming Sharjah Architecture Triennial.
The latest move in connecting the city’s motivations with its architectural past and future, as well as a step towards rethinking its urban and environmental footprint, in addition to that of the wider Middle East, North Africa and South Asia, the triennial was launched as a non-profit initiative and is legally housed under the Sharjah Urban Planning Council and funded by the Government of Sharjah. Chaired by Khalid bin Sultan Al Qasimi, the team behind the initiative is formed by its partners including the Directorate of Town Planning and Survey; the American University of Sharjah’s College of Architecture, Art & Design (CAAD); the Sharjah Art Foundation; and Bee’ah.
The curator of the triennial, Adrian Lahoud, architect, urban designer and dean of the School of Architecture at London’s Royal College of Art, spoke to MEA about the event ahead of its launch in November 2019.
According to Lahoud, the theme ‘Rights of Future Generations’ is an invitation to “radically rethink” fundamental questions about architecture and its power to create and sustain alternative modes of existence.
“The theme prompts us to interrogate the fact that, while individual rights have expanded over the past few decades, collective rights, such as rights of nature and environmental rights have been neglected,” he said.
“Following various lines of enquiry around housing, education and the environment, the triennial seeks to question and decolonise architectural discourse; it uses architectural design as an opportunity to realise these alternative modes of living, including new concepts of buildings, cities, landscapes and territories, and to consider how these may be better adapted and understood as part of contemporary life and possible futures.”
Rights of Future Generations intends to explore how inheritance, legacy and the state of the environment are passed from one generation to the next, and how present decisions have long-term intergenerational consequences, as well as how other expressions of co-existence, including indigenous ones, might challenge dominant western perspectives.
Lahoud noted that inherent in the theme is a commitment to address climate change as the most urgent challenge facing humanity today.
“Through its exploration of how particular conditions in the Global South produce unique relationships between human beings and the environment, the triennial seeks to bring awareness to specific models,” he said. “Ones that allow interacting and living with the environment, rather than dividing ourselves from it.”
In addition to raising awareness via the exhibition and public events, the triennial has formed the Rights of Future Generations Working Group. Its mission is to advance the protection of future generations’ fundamental rights in a world where climate change is dramatically shifting along socio-economic, legal, gender, racial and political dimensions.
The group will collaboratively produce the Sharjah Charter to be presented as part of the triennial, which Lahoud hopes will prove to be a significant moment in the ongoing global discourse around climate change.
“I believe that architecture as a practice holds a key role in addressing climate change,” Lahoud said. “However, in order to leverage this potential, we must move away from the extractive and exploitative models that dominate architectural practice. We are at a point of ecological collapse and one fact must not be ignored: that the sites, regions and populations most immediately and irreversibly threatened by climate change are the same ones that face regimes of global socio-economic extraction and exploitation.
“Valuable insight can, therefore, be drawn from paying attention to existing social struggles at the frontline of climate change, including indigenous ones. There is a particular problem with the western ontological distinction between humans and the environment. This distinction views architecture as ‘shelter’ from the environment, thereby validating land grab and resource extraction. Human history offers a myriad of examples of alternative social orders, of relationships between humans and other beings that evolved according to various beliefs and practices, and through these examples, we might understand our agency and relationship with the world differently.”
Most recently, the triennial announced the two venues that it will be held at – the old Jubail vegetable market and the Al-Qasimiyah School, which is currently being renovated to form the triennial’s permanent headquarters.
The choice in venues was no coincidence, asserts Lahoud. They speak directly to the theme of the triennial. Both buildings are leading examples of the emirate’s 1970s and 80s architecture. And in the adaptive reuse of these structures, the triennial offers a sustainable approach and example of working with existing infrastructure.
“The mission of the triennial is to serve as a space for dialogue that supports an emerging generation of architects drawn from across the Global South and their diaspora,” said Lahoud. “Ultimately, we hope to prompt our audiences to rethink the potential of architecture – to interrogate existing models, disrupt dominant perspectives and consider the alternative ways of living that can be formed.
“Inherent to the theme of Rights of Future Generations is a commitment to legacy building, and I hope to create a lasting community beyond the exhibition,” Lahoud said. “Physically, the school will serve as a central hub for architectural learning within Sharjah. For those based in other regions, texts and publications produced during the triennial will be available across a variety of online platforms long after the exhibition has ended, offering a globally accessible resource for those who wish to interrogate existing architectural discourse.”
(Images courtesy of Sharjah Architecture Triennial)
Posted on July 29, 2019, and written by Whitney, an American traveller, is the following article titled Doha, Qatar… Epitome of Opulence. Having personally stayed in the country in the 90’s through to early 2000, I can confirm every single detail of the author’s story. The difference would perhaps be that I was leading a quasi-normal resident life whilst making a living through practising my skills of Architect. Indeed, today there is a bit of a situation vis a vis its surrounding neighbours, Qatar is the most open country in the Middle East but it was not exactly as enthralling as you might imagine in my early years but at least I had the privilege to see before my very eyes, the making of this city. I must say, I did contribute however modestly into the shaping of its skyline. But enough of me, here is Whitney’s.
A tidbit of information – Qatar is the most open country in the Middle East, allowing Transit Visas upon arrival for free, given you have a valid passport and return ticket. These Visas are valid for stays from 5 hours and up to 96. Additionally, Discover Qatar offers one-night free hotel stay in a variety of 5-star accommodations, or two to three nights for a fee of $100 in the same hotels. Given that the layover in Doha is a whopping nine hours, this was absolutely worth the extra money for a good nights sleep in luxury lodging.
Unfortunately, I did not know that Qatar Airlines offered a stopover through Discover Qatar in Doha when Hubs and I initially booked our Maldives flights through Qatar Airlines (ranked the #1 airline in the world). We made this delightful discovery after we had already departed the States. However, the airline (for a fee, of course) altered our flights, and we made a two day pit stop in the incredibly wealthy, insanely hot, and bustling country.
The money flowing through Qatar is obvious before you even land at the airport. From the sky, you can see the intricate, man-made island. The skyscrapers litter the cityscape. Upon landing at the airport, a sparkling air-conditioned building greets you. We were met by a smiling gentleman driving a black luxury sedan. He ferried us the 25 minutes through Doha to our accommodations for the next couple of nights. He deposited us at our five-star hotel in the ‘City Center’, the Marriott Marquis.
Unlike US hotels, security has a much larger presence. We had to go through a metal detector upon returning to the hotel each time we left. They scanned our bags before allowing us access to the enormous lobby. The friendly, multi-lingual front desk checked us in, and we took the elevator up to our room.
Downside to vacationing in a conservative Muslim country… twin beds in hotel rooms.
We are actually married (at least in Slovenia), does that entitle us to at least a queen-sized bed?
However, we were at least provided a decent view through the floor-to-ceiling windows of the city center on the 11th floor.
Tiny little admission… I may have slept brilliantly while buried beneath the blankets in my personal feathery, comfy haven in the starkly cold room thanks to the wonderfully chilly air conditioning.
We began our Doha exploration with a City Tour provided by Discover Qatar for a minimal cost of $24 a person. We were ferried around the city by a local gentleman, who regaled us with Doha facts throughout the jaunt. Doha is the capital of Qatar and boasts a population of about 2.4 million. It is located along the Persian Gulf. He informed us, water is more expensive than fuel in the wealthy country. And if we happened upon any green spaces (grass is a novelty there), it was likely watered every 30 minutes in order to survive in the extreme heat of the desert.
We cruised through the city in air-conditioned comfort in a van, just the two of us and our insightful guide. A few highlights and/or stops:
The Pearl-Qatar, an artificial island jutting into the Gulf, is a $15 billion (so far) project. It will be a stunning residential estate made up of luxury villas and commercial amenities. The project was originally to cost $2.5 Million, but clearly, that budget was a tad off.
A colossal to-scale model of the not yet finished island takes up the first floor of a building, displaying a life-like representation of the what the man-made archipelago will look like upon completion.
The imitation even has people, boats, greenery, and lighting!
And it was so enormous that I could not even get a photo of the entire model in a single photo.
Moral of the story: Sorry for the disjointed photographs that do not portray the full enormity of this undertaking.
Yet another displaying of probably the most financially stable country I have ever travelled to. They successfully made the desert desirable.
MOSQUE (Unfortunately, I don’t recall the name)
We also crept into a mosque. Thankfully, I had smartly packed a shawl and light sweaters to cover my provocative shoulders. I was also clad in baggy, white linen pants (thanks, Athleta for selling breathable and comfortable pants perfect for the occasion).
Anywho… the lower floor, only suitable for men, was basically an open floor for praying. The upper balcony was where the women were relegated to. I was escorted outside to the separate entrance they were banished to. The much smaller space overlooked the men’s sanctuary below. After collecting our footwear, we returned to our Discover Qatar chariot.
MUSEUM OF ISLAMIC ART
Our guide dumped us at the entrance to the Museum of Islamic Art. This free museum sports an unusual exterior facade. It is geometric and quite unique, looking vaguely similar to a stack of building blocks. Our chaperone challenged us to guess the significance. Stumped, he enlightened us that it is meant to resemble a woman in a hijab with only her eyes visible. If you decide to visit the museum, abide by the conservative dress code, otherwise, you may be refused entrance. Little update: My recent perusal of the museum’s website showed there is now a fee in order to gain entry to the museum. You now… because Qatar is a poor country…
The collection was fascinating, with pieces ranging from the 7th to 19th centuries, and included scrolls, textiles, ceramics, and metalwork, along with items of early mathematical importance. There is also a cafe, a gift shop, and an exterior park. Don’t forget both male and female private pray rooms. The glass windows at the rear of the building provide an uninterrupted view of the water beyond.
We were given 45 minutes to peruse the sprawling Souq Waqif by our chauffeur. The Souq is a maze of vendors selling everything from spices to jewelry to daily goods to birds to furniture. We could have spent hours wandering the alleys, and made a mental note to return later with more time to spare.
Fast forward several hours, and we returned by cab to the Souq. Unlike when we were roving the passageways earlier, most of the merchants were open for business at the later afternoon hour. The bazaar is organized into areas by means of the goods the shopkeep was bartering. Spice hucksters were in one section, while rug peddlers were off in another. I must admit, the souqs have become one of my favorite places to visit common in many Middle Eastern countries. We walked out of there is color footwear, mugs, spices, tea (cinnamon was my poison, but should one have consumed a few too many beans that day, flatulence tea was also an option), kitchen wares, and a chess set. Bartering is welcomed!
We opted to walk the 5.5 km from the Souq back to our hotel. We strolled along the pathway ringing the water front. Due to the requirements of my gender covering up, it was quite the toasty saunter. Regardless of my clamminess, the walk provided quite the view of the very colorful skyline.
And a handstand of course. I made sure to wait until there were no other onlookers, so that I did not offend anyone when my shirt dropped to my shoulders, revealing my stomach. GASP! I’m such a heathen.
During our exploration of the hotel, and the attached mall, we discovered several restaurants that were housed in the same building as the hotel. After perusing the options, Hubs decided we were going to splurge on our meal that evening. He settled upon Ipanema, a Brazilian-style steak house. Because… when in Rome??? I suppose we spent the previous couple weeks dining on Indian food, for the most part, we can branch out on our final night overseas.
The food did not disappoint. I could not tell you everything I ate that night since I felt like a whale upon departing. After getting a smallish sampling from the buffet (I had to save room for the immense amounts of meat to come), we purchased a bottle of wine, and awaited the first round of meats to be whisked by our table. For anyone unfamiliar with Brazilian steakhouses, you are given what amounts to a coaster – one side RED and the other GREEN. When you’re ready to gorge on whatever tasty hunk of meat the waiters are strolling by with, you flip your coaster over to the green side, prompting the servers to cut you a fresh slice off the slab they are toting.
I swore I was not going to give into every delicious smell that wafted passed me, but alas, I was defenseless against the succulent fare, acquiescing to my cravings. I felt like I gained 30 pounds when we waddled out of there. Totally worth it, and I slept like a baby. Another note… I discovered grilled pineapple. The delectable fruit was blanketed in cinnamon. I was incapable of dismissing the servers when they came by with it.
Random side note… Arby’s in Arabic present in the busy food court in one of the many malls. Along with the longest, flattest escalator, I have ever ridden.
Alas, it is time to depart the warmth of Qatar and return to the cold, snowy climate of Virginia in November.
وداعا … Apparently, that is “goodbye” in Arabic. Back to reality (and winter).
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