Architecture Live! predicts that in 2021: Beginning anew – a joyful reimagining of our buildings as schools! as per SJK Architects professional experience. It is by Madhura Patil.
Write-up and Concept Storyboards by Vaishali Shankar
As an architect who has worked on educational buildings, I cringed at these completely closed boxes, but the openness of the education taught in them won and we enrolled our son in an IB school.-SJK Architects.
We were keen on an IB education for our child for the freedom in learning it offers. We loved it’s focus on a thorough understanding of a subject and analytical skills and not on rote memory, and the broad holistic range of subjects that it offers – one of the most open curriculums available today.
But as we scouted for schools and visited a handful, the irony of the centrally air-conditioned, closed, boxy buildings that IB schools have come to be synonymous with, was not lost on us. IB education is quite expensive and so with it comes an expectation for IB schools to have better infrastructure, one common interpretation for which is equating comfort to air-conditioning.
As an architect who has worked on educational buildings, I cringed at these completely closed boxes, but the openness of the education taught in them won and we enrolled our son in an IB school.
00_Introduction sketch 1
August 2020 has come and gone. This month had been eagerly anticipated by my family – it was the start of the new academic year and the first time that my son would start going to a ‘Big’ school! But we are still in the midst of the Covid-19 pandemic in semi lockdown state. With all kind of human contact being discouraged for the fear of contracting and spreading the infection, all schools are physically shut, and so the academic year started on- line. It feels a bit strange that the start of a child’s schooling is in a virtual environment.
Most teachers and schools have been exemplary in learning the ropes of on-line, remote teaching quickly, establishing systems and working very hard to come up with content that keeps kids engaged on-line. But while parents are happy to have schooling resume, most fret about the prolonged exposure to screens and the sense of isolation that the kids may feel.
The understanding that social skills and friendships are essential for mental well-being and key to learning, was never so acutely felt as it is now. And when normalcy does return, will the kids have adjusting issues, they wonder.
For now, these are just thoughts and worries – safety is paramount and social distancing our armour until Covid- 19 is vanquished.
But normalcy will return. And when it does, the favourite question doing rounds is – what will we take back from this strange period in our lives?
With thoughts of physical safety and mental health being top of mind, I and other colleagues turned to thinking about the type of buildings that would serve as thriving post-Covid19 schools in the metros.
Two great needs stand out-
1- To design buildings that do not encourage infections from spreading:
Research suggests that being outdoors or in well ventilated spaces can dilute ‘aerosols’ (or germs as we knew them in the pre-covid times!) enough to minimize tremendously the spread of any infection.
A building that is designed to work with climate, one that invites sunlight and wind through strategically located openings but rejects heat and rain, may be quite comfortable for at least a certain percentage of the year in a tropical country like ours (studies claim upto 80% of the time in all climatic zones in our country). So ensuring open spaces and natural cross-ventilation to the extent possible maybe the way to go!
And when absolutely not possible to achieve a comfortable environment without air-conditioning, alternative technologies like radiant cooling that do not circulate air for cooling or use of specialized filters that clean air in circulation could be employed to prevent air-borne infections from spreading.
2- To design buildings for human connections:
Post this isolation that children have been through, the attention would undoubtedly be towards providing environments that deepen human connections and restore or enrichen the social fabric of their little worlds.
Studies indicate that not only do friendships and social relationships strengthen children emotionally and turn them into well-rounded human beings, but also peer-to-peer sharing will most definitely accelerate learning. Such interactions with peers, often occurs outside the formal space of a classroom – so designing spaces for social interactions is a critical need.
It seems clear that the two responses that emerge– designing buildings with really good ventilation and ensuring spaces for social interactions, are simple yet wonderful principles of design for physical-emotional health and happiness that have been prevalent through all of historic and vernacular architecture, and ones that we at SJK Architects have applied to a variety of projects.
Here’s examining some of our urban projects, ranging from office buildings to residential homes, and spotlighting methodologies that helped accomplish these principles of health and happiness, ones that can easily be applied to post covid school buildings.
One: Use screens to draw wind into the building without gaining heat:
While the non-north faces of the building receive direct sunlight and are way warmer than the north, it may be necessary to open these up to invite the winds in for proper cross-ventilation. Drawing from the use of ‘jalis’ in vernacular and historic buildings, sun-shading devices such as louvers, fins or screens can be added to such non-north openings, ensuring that direct sun (and, therefore, heat) is blocked and not incident into the inner spaces, while the gaps in the ‘jalis’ can still allow wind in.
1_Nagpur House – Jali
Allowing the screens to be movable can give additional flexibility to open up completely in the winters or in cloudy weather, while leaving them shut when the sun is scorching bright.
4_Nagpur House – External Elevation
[Images 1, 2 and 3- Wooden jalis protect the bedrooms and living spaces of a Family Home at Nagpur, allowing for natural ventilation when possible, keeping the interiors cool, well shaded and additionally ensuring privacy.]
Two: Open up the North for drawing wind into the building and for social spaces:
The north face of the building receives the best shade (in our hemisphere) and is, therefore, the coolest! So, it makes sense to open up the north of the building. One can easily provide windows to draw wind into the building from the north. But, additionally, one can also step out into comfortable, well-shaded courtyards, balconies and other social spaces that can be carved out of the north face of the building. Providing these courtyards with props like amphitheater steps and benches can support interactions.
While designing in cities, one is ever conscious of ensuring that all available FSI is consumed leading to tall buildings with little or no open space available at ground level. So while a courtyard at ground level is often impossible, providing courtyards at higher levels is a useful strategy that can ensure a win-win.
[Image 4, 5 and 6- A north facing, shaded and vibrant courtyard at the 4th floor of a Commercial Building at Nagpur with an amphi-theatre and overlooking public passages, staircases, projecting meeting rooms and terraces to create a design centered around social gathering spaces and green pockets at every level.]
Three : Tiny courtyards for better social interactions and some fresh air:
Often, in the quest to consume all available FSI, it may be impossible to provide large courtyards. But even an eight feet wide tiny courtyard can become the soul of a building by bringing in day light and visually connecting different floors.
[Image 7- A tiny 8’ x 21’ atrium courtyard within a Family Home at Nagpur. The courtyard visually connects different levels of the house and is designed to create a sense of togetherness that binds a large joint family]
Four: The Staircase as a courtyard for cross ventilation and visual connectivity:
Some projects are so hemmed in from all sides that even the tiniest courtyard is impossible. But converting the staircase into a courtyard is still a possibility as we found while designing one of our favourite projects in Bangalore.
The staircase is a vertical connector that is a mandatory part of any building and organizing it, such that it visually connects different levels and becomes a conduit for sun and wind, can convert it into an urban courtyard that much like a traditional courtyard can serve as a space for social connections and welcome breaks, with minimal waste of precious floor space.
(Images 8 and 9- The core of this ‘out of the box’ office building for Nirvana Films at Bangalore is the N-S connector staircase that slices through the building with a huge skylight above, suffusing it with sunlight and natural ventilation.
Five: Use the terraces for social interactions:
The roof terrace is a free of fsi space. If possible, carving into the building to provide small terraces at every level can allow for each classroom to have a small attached open space. But whether at one level or at many, greening up the terrace for the children to use is such a simple possibility! It can bring an additional benefit – the joy of learning from nature!
Six: Balconies for well ventilated social interactions:
Some cities have, very wisely, retained the possibility of cantilevered balconies and double height terraces over and above the permissible fsi allowed for the building. If one is lucky to be in such a city, needless to say, all balconies must be availed for breezy, social spaces.
The lockdown in the wake of Covid 19 has forced us to pause and reflect, and simple solutions like the ones described here and perhaps several more are available to design post-covid city schools. These simple solutions that promote better physical-emotional health and happiness align beautifully with the spirit of sustainable development. Buildings and cities that work with climate will consume less energy and lower our carbon footprint. Likewise, buildings and cities that promote social interactions will help provide an emotionally stronger social fabric through better communication and understanding, one that, hopefully, will lead to a more inclusive, fair and tolerant society. So, in promoting our own health and happiness, we can simultaneously nurture the planet and its people – the wonderful i n t e r c o n n e c t e d n e s s of all fates! Sometimes it takes a pandemic to remind us.
British Museum celebrates over a decade of collecting Contemporary Art of the MENA (Middle East and North Africa) with new exhibition as per BWW News Desk. But why a decade of collecting contemporary art of the MENA? Let us find out.
The exhibition will debut in February 2021.
In February 2021, the British Museum will celebrate over a decade of collecting contemporary art of the Middle East and North Africa. Featuring over 100 works on paper from the collection, Reflections: contemporary art of the Middle East and North Africa weaves together a rich tapestry of artistic expression from artists born in or connected to countries from Iran to Morocco. These artists reflect on their own societies, all of which have experienced extraordinary changes in living memory. From drawings by artists trained in Paris, Rome, Beirut or Jerusalem (1) to works associated with the Syrian uprisings (2), the exhibition challenges perceptions of the contemporary art of the region, with a range of works of great complexity and beauty.
The works in this exhibition reflect the British Museum’s position as a museum of human history, past, present and future. The CaMMEA (Contemporary and Modern Middle Eastern Art) acquisition group has been central to the speed at which this collection has come together in recent years and its remarkable breadth. This collection of works on paper includes drawings, screenprints, photography and artist’s books. While works by artists of this region have been collected by the British Museum since the 1980s, CaMMEA was formed in 2009 with the guiding principle of enabling future generations to see what was being produced during a particular time as well as to record significant moments in the history of the MENA region.
Reflections highlights issues of gender, identity, faith, politics and memory. Also communicated within the exhibition are ideas about poetry, music and war. The artists whether living in the countries of their birth or in diaspora, belong within the globalised world of art, and many allude to the artistic or literary heritage with which they are associated.
At the outset of the exhibition, Nicky Nodjoumi’s The Accident (2013) (3) challenges preconceptions about Middle Eastern art and highlights the complexities of being an artist in diaspora. From there, the first room focuses on the uses of figuration and abstraction with important works including Marwan’s Gesichtslandschaft (4) (Face Landscape, 1973) in which he transforms his own likeness into a landscape reminiscent of the land of Syria, or Yehuda Bacon who evokes the memory of family members who perished in the Holocaust (5). Huda Lutfi’s Al-Sitt and her Sunglasses (2008) (6) and Hayv Kahraman’s Honor Killing (2006) (7) bring their own perspectives to the female gaze. Monir’s captivating mirror drawing is informed both by the architectural heritage of Iran, and by philosophies of minimalism and abstraction (8). For Burhan Doğançay, inspiration for his abstract paintings is found in the urban walls of New York (9).
The second room is entitled Tangled Histories and shows political struggle, revolution and war across the region through the eyes of artists. While there are works relating to a specific event, such as the burning of the National Library of Baghdad in 2003,(10) or the demonstration by women against the enforced wearing of the hijab in 1979, (11) others emerge from and address longer-running struggles, and focus on the complexities of the Israel/Palestine conflict, the Lebanese Civil War or the ongoing war in Syria. Further works highlight one of the defining issues of our time, that of exile and migration through the photographs of the late Leila Alaoui. (12)
Visitors will be encouraged to explore further by visiting the British Museum’s Albukhary Foundation Gallery of the Islamic world (Rooms 42-43) where additional works from this collection will be displayed including Taysir Batniji’s painting (13) exploring the notion of being between worlds, Khalil Joreije and Joana Hadjithomas’ photography and drawing series Faces (2009) (14), and a collection of artist books.
Venetia Porter, Curator, Islamic and contemporary Middle Eastern art, British Museum said: ‘The acquisition of many of the works in this exhibition is thanks to the tireless work of the members of the CaMMEA group. We are so grateful to them for working with the museum to acquire such interesting and important works for the collection. Through the prism of personal experience, the artists in this exhibition present us with a refracted image of a region: there is no one narrative here, but a multiplicity of stories.’
Pace, one of the Gulf region’s leading architecture and engineering practices’ ‘Future Schools of Kuwait’ project shortlisted is acknowledged to be its second international accolade, recognizing its progressive and adaptive design approach.
KUWAIT: The Public Authority for Housing Welfare (PAHW) announced that the design of the ‘Future Schools of Kuwait’ project has been shortlisted for the World Architecture News (WAN) Award 2020 in the ‘Future Projects – Education’ category. This is the project’s second international accolade, recognizing its progressive and adaptive design approach.
In its efforts to improve the standards of education in the country, PAHW had collaborated with Pace – a leading Kuwait-based multidisciplinary firm in the region – to embark upon a program to radically redesign schools within the country and to offer more student-centered, technological and experiential forms of learning. The partnership between PAHW and Pace began following a design competition launched by authority, which the firm eventually won. The prototype design model is set to be replicated and developed for schools across the country, in an effort to address the needs of a new generation of students.
On this occasion, Nasser Khraibut, Deputy General Manager for Planning and Design Sector at PAHW, said: “We are very pleased to have won yet another prestigious global award for this promising future project in collaboration with Pace. The ‘Future Schools of Kuwait’ design initiative came as part of our commitment to develop educational facilities with modern and progressive standards, in line with Kuwait’s National Development Plan emanating from the His Highness the Amir’s Vision 2035.”
Known across the region as a partner of national development for decades, Pace had delivered initial prototypes to develop primary and middle government schools. Speaking about the Award, Architect Tarek Shuaib, Pace CEO, said: “We are excited to witness our ‘Unbuilt’ future design garnering international recognition for its innovative approach. We are confident enough to say that the project succeeded in critically examining the outdated platforms found in a region desperate for change in the educational model, which are in need of an open and creative educational adaptation.”
Generation Alpha
Speaking about the project, Khraibut said that PAHW’s vision was to design a school for the next generation, Generation Alpha, that will live through the next 50 years and transition Kuwait from an outdated schooling model into the future of education – with experiential learning being a big part of it. He explained how Alpha are considered the first generation to be born entirely within the 21st century, not having experienced the world without technology and smart devices.
As for the design itself, Shuaib noted that Pace’s award-winning concept designs for the schools break down the boundaries of conventional learning by extending the functionality of the building to spaces, such as corridors, staircases or outdoor areas, with more flexibility to house multiple activities. “The highly-functional designs ensure that they respond to the site and program, as well as being adaptable, sustainable and inclusive of future change,” he added.
Elaborating further on the design, Khraibut discussed how it is centered on creating open and transparent spaces to foster a safe and secure environment, eliminating “dead areas” that are more concealed from sight. According to Khraibut, this reduces opportunities for bullying and helps create a more controlled environment where students feel safe to learn and explore. The designs are also led by their belief in creating completely accessible spaces that are inclusive of people of all different capabilities.
In terms of sustainability within the buildings, Shuaib pointed out that it has been achieved in the design primarily through passive cooling methods such as shading and the extensive use of vegetation, which also creates a pleasant environment for kids to play and will encourage them to explore their outdoors while being friendly to the environment.
“Our design aims to reduce temperature-controlled spaces and maximize outdoor covered areas in order to reduce load. In addition to cooling techniques, sustainability is also used as a learning tool. The future generations can be taught to be more conscious of their environment by providing space for outdoor classes, planting gardens and other green areas,” he said.
It is worth mentioning as well that the ‘Future Schools of Kuwait’ project had previously won the American Institute of Architects (AIA) Merit Award in the ‘Architecture Unbuilt’ category. The AIA jury recognized the project at the annual AIA – Middle East Conference and Design Awards 2019.
Hany Abdel Kader has worked stitching khayamiya since his childhood. Photo: Claudia Willmitzer for Asia Times
There is a soft smile on Hany Abdel Kader’s face as he takes out the carefully folded cotton piece, kept at the back of his small shop.
As he unfolds the fabric, a decorated front appears, with carefully stitched appliqué in bright colors – typical of Cairo’s long-established khayamiya (needlework) tradition. But this piece is unlike any other in the neighborhood’s workshops, where the art has been practiced for centuries. It has none of khayamiya’s customary patterns, based on geometry or Arabic calligraphy, but army tanks and masses of people – scenes from the 2011 Egyptian revolution.
‘That’s when I did my first piece, when we were all unsure about what would happen in the future,’ Abdel Kader, 44, told Asia Times.
He points to images stitched along the borders of the quilt, each depicting a different scene during the revolution. One shows a figure trying to climb the enormous government building, the Mogammaa; another, the infamous camels brought in to fight protesters in the street. Most of the scenes are set in Tahrir Square, the symbolic epicenter of the revolution.
Details from the quilt show state violence and wounded protesters being carried away. Photo: Claudia Willmitzer ‘I felt the need to describe what I saw. And I had the fabric at home, so I just laid out a big piece on the floor and started creating the design,’ said Abdel Kader.
As the days passed he added elements to the outer border, based on what he saw himself, heard from friends, or watched on TV. He embroidered words like ‘Peacefully’ and ‘Step down’.
He also stitched the slogan heard across the Arab world in 2011: ‘The people want the fall of the regime’.He added protesters getting hurt by bullets – and others coming to their rescue.
Appliqué showing scenes from Tahrir Square: tanks and protesters praying in the street, plus the demand ‘step down’. Photo: Claudia Willmitzer for Asia Times
Eight years ago, on 25 January 2011, Egypt witnessed the start of mass protests. They came on the heels of similar demonstrations in Tunisia, which set the Arab Spring in motion. After 18 days of protests in Cairo, which spread to cities across Egypt, President Hosni Mubarak – in power since 1981 – was forced to resign.Protests continued throughout 2011 demanding the armed forces that took power after Mubarak’s resignation hand over the reigns of power to civilian rule. Elections in 2012 brought the Muslim Brotherhood to power, but the elected President Mohamed Morsi was ousted in a military coup led by current ruler Abdel Fatah El Sisi, who has since been accused of rights abuses and criticized for giving the military unchecked power.
Abdel Kader recalls the period of the revolution eight years ago as a step into the unknown.
‘It was a very strange and unknown time for us. Suddenly, there were tanks underneath our windows. We had never seen that before,’ he said.An ancient craft Khayamiya, which takes its name from the Arabic word for ‘tent’, historically involved the production of tents and panels to be used in a range of settings, from political gatherings to funerals to celebrations. Its usage dates back at least one thousand years in Egypt.
The Cairo district of Darb al-Ahmar. Photo: Claudia Willmitzer for Asia Times
The view over Cairo’s ancient Al-Darb Al-Ahmar quarter, where many of the city’s craftspeople are located. Photo: Claudia Willmitzer Throughout the centuries, the craft has evolved. Ottoman rulers, kings Fuad and Farouk, presidents Gamal Abdel Nasser and Anwar Sadat would all receive guests in rooms decorated with khayamiya.The opening (and, almost one century later, nationalization) of the Suez Canal had tents to host guests and officials.
Traditional celebratory tents are seen at a festival in the Egyptian city of Ismailia, on the west bank of the Suez Canal, for the occasion of the canal’s grand opening in 1869. Photo: Collection of Roger-Viollet Egyptian musicians, when traveling, would often bring stitched panels to put up as backdrops at their performances.The popularity of khayamiya remains until present – only now, fabrics are mostly printed by machine.
Photo: Claudia Willmitzer for Asia Times
‘You find them all over Egypt, they are so common that people rarely think about them,’ said art historian Seif El Rashidi, who recently co-authored a book on the topic.The most revered work done by Cairo’s khayamiya guild was doubtless on the kiswa, the elaborate cover for the holy Kaaba, the black cube in Mecca, which was historically produced each year in Cairo’s alleys and ceremoniously brought all the way to the holiest city in Islam. Abdel Kader comes from a family of such prominent crafters: his grandfather Mahmoud earned the name Al-Mekkawi, ‘of Mecca’, from being one of the leading kiswa artisans.
Amm Hassan, the colleague of Abdel Kader, works on a piece of khayamiya. Photo: Claudia Willmitzer Seated in the inner corner of his shop, with his long-time colleague Amm (uncle) Hassan working on a cushion next to the entrance, Abdel Kader takes out images of his first two revolution pieces.Both are in museum collections now, at Durham University and Victoria and Albert Museum in London – destinations he never imagined when drawing that first design during the revolution.
It is not entirely uncommon that political art develops this way, historian Rashidi tells Asia Times: ‘It might be spontaneous at first. An artist starts working on something, and only later on it takes on a specific meaning.
Transforming folk art
Many of the most powerful artworks from 2011 were street art, such as Ammar Abo Bakr’s portraits of martyred protesters with angel-like wings, or Bahia Shehab’s stencilled blue bra for the protester who was dragged in the streets by members of the military until her clothes ripped – creations symbolizing the ongoing regime brutality. Or the dozens of artists who came daily to the sidewalks around Tahrir, to draw what was happening. Abdel Kader’s work is different, belonging as it does to the much less utilized craft tradition.
‘Sketches for new pieces and photographs of Abdel Kader’s trips to exhibit his work abroad. Photo: Claudia Willmitzer for Asia Times
Usually, Abdel Kader’s work is not a commentary on society. Like all of Cairo’s khayamiya artists, he spends his days cutting, folding and stitching colorful pieces of cloth onto canvas to create vivid and detailed tapestries.
“Khayamiya is usually not a form of art that lends itself to this kind of work. That’s what makes Hany’s pieces so interesting,” said historian El Rashidi.
Eight years after the onset of the revolution, under another strong and repressive state apparatus, looking back at what happened is for many Egyptians associated with gloom, even a sense of despair.
But for Abdel Kader, the events that took place in Tahrir Square still form a source of inspiration.
In his home on the top floor of an apartment building in Muqattam, a dusty hill on the outskirts of Cairo, he has several sketches for new pieces.They portray the same crowds, the same skyline of Cairo and the same commemorative date, January 25th.
‘If I think about my craft there is something else that I would like to do,’ he said. That is to work on a big, traditional tent. But, he says, with the advent of machine printing, no asks for them these days. ♦
Rima Alsammarae report on Middle East Architect of 9 April 2019 that “Jordanian architect and artist Ammar Khammash is a 2019 laureate of the Global Award for Sustainable Architecture, along with four other architects including Dr Werner Sobek, Ersen Gursel, Rozana Montiel and Jorge Lobos.”
Created by architect and scholar Jana Revedin in 2006, the international award recognises five architects each year who have contributed to sustainable development and created innovative and participatory approaches to meet societal needs.
Royal Academy for Nature Conservation in Jabal Ajloun, Jordan by Khammash Architects
According to the award’s website, Khammash was recognised for his dedication to interdisciplinary scientific research, as well as his artisanal and artistic approaches to architecture.
Khammash’s projects include the Wild Jordan Center, the Royal Academy for Nature Conservation, the Darat Al Funun workspace and the Columbia University Middle East Research Center in Amman, as well as the Church of the Apostles in Madaba. His approach involves the use of locally-sourced, natural materials to achieve context-relevant designs.
The Middle East Modern Art Space in New Badr, Amman by Khammash Architects
“It appears that there is a growing international trend to put architecture back on the track of social and environmental responsibilities, and away from being a hostage of powerful visual output that publishes well in the media,” he said. “Our philosophy and methodology of approach is entirely based on the role of architecture in solving problems, finding creative ways to co-exist with the larger context, which includes society and nature.”
Currently finalising two ecolodges in Jordan (one in Yarmouk Reserve and the other on the hot spring of Al Himmeh in Mukhaibeh), Khammash and his team are also working on a number of competitions in Jordan and Saudi Arabia. He noted that the award will help him further his approach and convince clients who see things differently.
Heedan Visitors Center by Khammash Architects
“The recognition from this prestigious award will help me change the mentality of clients, politicians and students,” he said, “ensuring that architecture retains some degree of modesty and symbiotic relationship to people and nature, instead of overwhelming, overpowering and outsmarting the very reason we need to build for.”
Khammash will be speaking at the award’s symposium, to be held in Paris in May.
Ammar Khammash talks on CNN’s program “Inside the Middle East” about Feynan Eco-Lodge, designed by Khammash Architects, and which is one of the first Eco-Lodges in Jordan and the Middle East. Watch the interview: Inside the Middle East
Earth has been used as a building material for at least the last 12,000 years. Ethnographic research into earth being used as an element of Aboriginal architecture in Australia suggests its use probably goes back much further.
Traditional construction methods were no match for the earthquake that rocked Morocco on Friday night, an engineering expert says, and the area will continue to see such devastation unless updated building techniques are adopted.
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