FEBRUARY 2019 / VOLUME 13 / ISSUE 02

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

CHALLENGING
MOSQUE DESIGN
A new building reinvents the architectural language of the
sacred space
24

INTERVIEW
Meet Japanese
architect Takeshi
Maruyama
18

PROJECT
Woods Bagot
designs a hotel
in Muscat
30
madeexpo.it
 CONTENTS / 3

contents FEBRUARY 2019

VALIASR MOSQUE IN IRAN CHALLENGES
CONVENTIONAL MOSQUE DESIGN
VOLUME 13
ISSUE 02

12 24 43
Industry Valiasr Special
Insights Mosque Report
Get the latest in industry news from An indepth look at the architectural Check out our special report on inte-
the Middle East and North Africa language of Tehran’s new mosque grated practices in the UAE

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4 / CONTENTS

08 KEEP
NEWS HIGHLIGHTS
Get the latest news
UP-TO-DATE
from the region’s
For all the latest
industry, including
news check out
recent award wins www.
and business updates middleeastarchitect.
from regional firms com

12
INSIGHT
This issue introduces 43
RMJM’s architect SPECIAL REPORT
Enayat Ghaedi as its This month’s special
New Architect, while report focuses on
exploring a concept integrated practices
design for Basra, Iraq in the UAE, with con-
and a new residence tributions from GAJ’s
from Iran partner Nathan Cart-
wright, who lays down
the do’s and don’t’s
18 12 of growing your prac-
tice’s services
INTERVIEW
Middle East Architect
speaks to Dubai-based
Japanese architect
and academic at AUD
Takeshi Maruyama
about integrating
cultural sensitivities
into his projects in the
Middle East

24
COVER STORY
Tehran’s controversial
Valiasr Mosque, de-
signed by Fluid Motion
Architects, presents
a new typology for
religious architecture
in the country. Devoid
24
of the usual minarets,
this building expands
horizontally, and pro-
vides a public space
on its roof

30
PROJECTS
This issue introduces Download
three newly com-
pleted projects from the App
across the Middle
East, including the
Sliding Chapel in
Byblos, Lebanon, the
International School
of Choueifat from 38
Umm Al Quwain, UAE
and the Kempinski
Hotel Muscat, in Oman SUBSCRIBE: www.itp.com/subscriptions

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6 / COMMENT

EDITOR’S COMMENT

Changing mosque typology

Mosques are now expanding horizontally, offering renewed
public spaces for their communities

The design of spiritual spaces is among the
most difficult for architects. While present-
RIMA ALSAMMARAE
Editor of Middle East Architect ing the usual restraints, like tight budgets,
short time frames and client demands, such
projects, when approached in unconven-
tional ways, can be inundated with religious
opposition and public disagreement. And
in countries where religious conservatism
overpowers creative solutions, designing a
spiritual space can often fall short of being
an exploratory opportunity for architects.
Our cover story this month looks at
Valiasr Mosque (pg 24), a new building in
Iran by Fluid Motion Architects, which
challenges traditional mosque architecture.
Largely considered a controversial design
due to its transformation of the building’s
roof into a public plaza, which also serves as
seating for a nearby theatre, as well as for its
lack of classical elements, like the minaret,
the mosque is one of the latest manifesta-
tions from architects in the Middle East
looking for ways to break away from the
usual mosque typology.
Other recent examples include Amir
Shakib Arslan by L.E.FT Architects in
Lebanon, Al Dana Mosque by X Archi-
tects in the UAE, and Sancaklar Mosque
by Emre Arolat Architecture in Turkey.
Iranian architect Arash G. Tehrani also
revealed a new concept proposal for a
mosque in Golshahr, Alborz, which in-
tegrates a plaza into its site, intending
to offer a place for social gathering. It
proposes an interesting reinterpretation
of the sacred space, and reconnects the
mosque to its urban context.
Such examples reflect the changing
architectural language of mosques si-
multaneously happening in different
Muslim countries, illustrating their hori-
zontal expansion rather than vertical, as
reflected in their incorporation of plazas
and landscaped areas. Rather than keep-
ing engagement with visitors an indoor
activity, mosques are beginning to offer
a hospitable non-denominational space
for respite to local community members.

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Catherine Spiridonoff, CEO of Fluid
Motion Architects, the firm behind our
cover story, discussed the reforming
approach to mosque design, and drew
Valiasr’s design inspiration from Proph-
et Muhammad’s time. According to her,
the first mosques ever built refrained
from vertical dominance, which she said
developed later over the centuries.
“After Prophet Muhammad, elements
like the dome and minarets were added
to the architecture of the mosque,” she
said. “The mosque’s peaceful horizontal
COMMENT / 7
form transformed into a vertical shape
as a symbol of authority.”
“Valiasr is a criticism of the verti-
cal authoritarian structures of classical
mosques and proposes peace and equal-
ity,” she added.
While mosques have always been a Golshahr Mosque and Plaza by
Arash G Tehrani
private place of tranquillity for believers,
their changing typology is a reflection
of the desire to further integrate GOT A COMMENT?
mosques into their contexts and re- If you have any comments to make on
think their visual dialogue with their this month’s issue, please e-mail
communities. rima.alsammarae@itp.com
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8 / NEWS HIGHLIGHTS
Palestinian architect Suad Amiry wins Women in
Architecture and Construction prize
Palestinian architect, academic and
founder of Riwaq: Centre for Archi-
tectural Conservation, Suad Amiry,
has won Tamayouz Excellence Award’s
Women in Architecture and Construc-
tion prize for Woman of Outstanding
Achievement.
Established as part of Tamayouz’s
awards programme, which champions
the region’s best architecture, the an-
nual prize is open to women from the
Near East and North Africa (or work-
ing within these boundaries) and is
split between two categories: Rising
Star and Woman of Achievement.
While Egyptian architect and aca-
demic Ebtissam Moustapha took
home the Rising Star award — given to
those under the age of 35 — Amiry was
awarded the Woman of Outstanding
Achievement for her regeneration work
across Palestine, the establishment of
Riwaq and her involvement and par-
ticipation in the promotion of architec-
ture in the Middle East.
“Suad Amiry is a lifetime achiever,”
the Tamayouz jury said. “Her contri-
butions are unparalleled, and her work
is really inspiring — it’s very much on
the ground and involves the people…
MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
The sheer amount of work she’s pro-
duced is amazing, and she’s created a
platform for other people to pick up
where she’s left off.”
Established in 1991, Riwaq has
worked to preserve Palestinian col-
lective memory through projects that
document and restore architectural
heritage sites across the West Bank and
Gaza. Relying on the skills and effort of
students, architects, archaeologists
and historians, Riwaq has delivered a
number of significant projects, includ-
ing the Registry of Historic Buildings,
a 13-year project (1994-2007) that cul-
minated in the publication of three vol-
umes. Each comprises detailed histo-
ries, maps and photos of approximately
420 villages in 16 districts across the
West Bank, Jerusalem and Gaza.
Another of her projects is the 50-Vil-
lage Rehabilitation Project, an exten-
sive mission to rehabilitate 50 villages
across Palestine, safeguarding their
heritage as a tool for socio-economic
and political development. Today, Ri-
waq is working on its 17th village.
“I never thought of being rewarded
for what I do, as the work itself has been
rewarding all along,” said Amiry. “But
awards like Tamayouz are extremely
important — they’re like a candle shed-
ding light on important issues such as
the need to protect the cultural herit-
age and identity in Palestine.
“When you work on a small village in
Palestine, you never think that some-
one sitting in another part of the globe
would notice what you’re doing. This
recognition not only reassures me that
what I did during my life was worth-
while, but it also encourages others and
younger architects to follow suit.”
This year’s jury for the Women in
Architecture and Construction Award
included Professor Jala Makhzoumi,
academic and researcher at the Ameri-
can University of Beirut; Anna Scha-
bel, director of Wilton Studio Ltd in the
UK; Mandy Franz, chartered architect
and senior associate at MICA Archi-
tects in the UK; Kathy Basheva, a RIBA
chartered architect and head of devel-
opment and education at the National
Association of Women in Construction
(NAWIC) in the UK; and Sarah Akig-
bogun, founder of Studio Aki London,
architect, filmmaker, director of the
film ‘She Draws: She Builds’ and vice
chair of Women in Architecture UK.
“This recognition means that Ri-
waq’s dream of rehabilitating 50 his-
toric centers in rural Palestine will one
day be fulfilled. It also means that the
protection of cultural heritage in Pal-
estine is being recognised as a prior-
ity,” said Amiry.
She added, “Architecture is not ex-
actly an easy field for women to excel
in, but they do. In fact, 70 percent of Ri-
waq’s architects happen to be women.
The shortlist for the Tamayouz Award
also made me aware of other women
architects in the Arab world, and that
by itself was rewarding.”

‘Saudi Arabia presents a very important market for
us,’ says Lebanese architect Karim Moussawer
According to Karim Moussawer, found-
er of Paralx, a Beirut-based architecture
practice, Saudi Arabia presents a major
regional market for architects.
Currently undergoing widespread de-
velopment, the GCC kingdom is in need
of massive infrastructure projects, said
Moussawer, as well as education and
residential projects.
“Saudi Arabia has had sustained
growth in the past few years, and we
foresee that continuing for the years to
come,” he said. “That’s why architects
are focusing on work there, and we at
Paralx already have projects in Jeddah
and Riyadh.”
One of Paralx’s project’s in the king-
dom is a 29-acre masterplan based on
Saudi Vision 2030, a plan to reduce the
country’s dependence on oil, diversify
its economy and develop public service
sectors. Located on King Abdul Aziz
Road in Jeddah, the masterplan con-
nects to the waterfront, acting as a link
between the city and the recently revi-
talised coastline.
The practice also has two other pro-
jects in Saudi — OBK Village in Riyadh
and Office Park in Dammam. OBK Vil-
lage will span 150,000m2 and host facto-
A Paralx project in Saudi
Arabia
ries, residences for workers, a hotel, and
a commercial centre, while Office Park
will span 60,000m2 and host offices, a
hotel and food and beverage outlets.
Saudi Arabia is also home to oth-
er landmark projects, including the
King Abdulaziz Centre for World Cul-
ture by Snohetta, the King Abdullah
Petroleum Studies and Research Cen-
tre by Zaha Hadid Architects, and the
greatly anticipated megacity NEOM,
the first phase of which is slated for
completion in 2025.
“The main challenges in Saudi Ara-
bia relate to the country’s cultural
transition, and the openness that the
government is looking to implement
— as based on Saudi Vision 2030,” said
Moussawer. “Other challenges include
how to be sustainable and at the same
time deliver good design. These are the
challenges we’re facing with our pro-
jects there.”
Paralx has also delivered a number of
buildings in Lebanon, including private
residences and commercial projects.
It’s also working on the design of Beirut
Digital District, a community dedicated
to creating a hub for the digital and cre-
ative industries in Lebanon.
MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
NEWS HIGHLIGHTS / 9
designMENA
Quiz gears up
for round three
Following the success of 2018’s second
designMENA Quiz, it is back for a third
season on 24 April in Dubai.
Interior designers and architects
from the GCC are invited to join the
team from Commercial Interior Design
and Middle East Architect for a friendly
yet competitive night, where they can
engage with peers, suppliers and media.
Last year’s quiz welcomed hundreds
of professionals and was presented by
Dubai 92 Radio presenter Catboy (Si-
mon Smedley) alongside his partner
Lorra and featured seven rounds, some
focused on design and architecture,
and others on general knowledge topics
including music and movies.
Competitors also faced a creative
round in which they were tasked with
creating a ‘building of the future’ using
a single block of Plasticine. Last year’s
winner was Killa Design.
To enquire about sponsorship, please
get in touch with David Bentley on +971
4 444 3396 or david.bentley@itp.com.
10 / NEWS HIGHLIGHTS
Architecture workshop in Jordan explores Amman’s
urban challenges
During HERe_Amman, a workshop
recently held at Jordan University
by Tamayouz Excellence Award and
Coventry University in the UK, par-
ticipants were invited to explore and
create responses to current and future
challenges facing Amman.
Held during the second week of De-
cember 2018, the workshop was open
to international and regional students
and professionals who analysed Am-
man’s urban issues, including water
and food scarcity, transportation,
climate change, urban growth and
housing. The programme divided the
participants into groups to focus on as-
signed topics related to the themes of
the workshop, ensuring a balanced mix
of international and local participants
on each team.
The programme also featured daily
talks from academics, government of-
ficials and architects, such as archi-
tect Aymen Zueitar who discussed ver-
nacular architecture, Dr Othman Al
Mashagbeh who covered Jordan’s wa-
MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
ter scarcity, and Jan Raes who present-
ed quantification and gamification.
The leaders of the workshop includ-
ed Ossaid Aleitan, founder and CEO of
Ossaid Aleitan for Construction Man-
agement and Design Consultancy in
Jordan; Claudia Linders, dean of Fon-
tys Academy of Architecture and Ur-
banism and founder of Atelier Claudia
Linders in the Netherlands; Sebastian
Hicks, senior lecturer of architecture
at the School of Art and Design at Cov-
entry University in the UK; and Felipe
Samaran Salo, dean of Universidad
Francisco de Vitoria in Spain.
“If you look at our lecture pro-
gramme, we had lectures from locals
who presented really specific local
expertise about infrastructure, local
water supplies, and so on, and then
we had expertise from abroad coming
in, which was also very nice because
it promoted the exchange of knowl-
edge between people of different back-
grounds,” said Linders.
“There has also been a spread of in-
tercultural awareness,” she added.
“We’ve really become aware of how
different our ways of looking at certain
challenges are and what we can learn
from each other. We then tapped into
how we can use these ideas, or shift
or change them to work within the
local context.”
The participants split their days be-
tween attending presentations and
talks, and completing online and field
research regarding their specific top-
ics, which ranged from preferred ma-
teriality for local building to the lack
of urban space. At the end of the week-
long workshop, the groups presented
their findings and proposed solutions
for Amman’s future growth during a
symposium, which will later be pub-
lished and exhibited.
“I joined this workshop because
I wanted to hear some ideas from
abroad. Here, there are many plans
for Amman, but they’re only plans on
paper so far,” said Jordanian partici-
pant, architect and urban planner at
 NEWS HIGHLIGHTS / 11

Consolidated Consultants, Firas Swei-

dan, who spent the week researching
open areas and the reuse of staircases
in Amman.
His team looked at ways to make
staircases attractive points of social
interaction within their immedi-
ate environments. Currently consid-
ered dangerous, especially after dark,
public staircases in Amman, despite
presenting potential spaces for urban
connectivity, are largely avoided by
locals. He hopes to transform the
public perception of these spaces,
rendering them positive areas within
the city.
“I wanted to understand what has
been done in other cities that can be
applied to Amman to enhance its ur-
ban plan and public spaces,” Sweidan
said. “We have transportation prob-
lems, connectivity problems and a lack
of open spaces – so I joined the work-
The workshop was held shop to gain a fresh perspective.”
at Jordan University
According to Sweidan, many of the
findings discovered in the workshop
can be applied to other cities in the
Middle East, such as Beirut or Damas-
cus. Fellow participant and Lebanese
student from Coventry University,
Saba Samer El Hashem, agreed with
Sweidan.
“One idea that stood out to me,
which would also be useful in Lebanon,
is creating a simple filter that could
minimise 90 percent of the pollution
that enters natural water holes,” said
El Hashem. “I heard it from Ammar
Khammash when he was reviewing the
topics. It’s something I hadn’t thought
of before, but it’s brilliant.”
“The workshop has definitely ex-
ceeded our expectations,” added
Hicks. “We’ve had fantastic feedback
and discussions. And I think the first
thing everyone has gained is they’ve
connected with and discovered each
other – the participants have also had
Students map out the the chance to really learn the city and
city of Amman experience it in a new way.”

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

12 / INSIGHT: NEW ARCHITECT

Enayat Ghaedi
RMJM’s Dubai-based Iranian architect
discusses his latest projects in the
Middle East and Europe

Shiraz-born architect, Enayat Ghaedi, has long been inter- day. The second is that the project has to fit the city, so the
ested in the field of architecture. Inspired by the architec- city is another aspect of the project that we always look at.
tural heritage of his home country, the American University And the third is the developer – a commercial value has to
of Sharjah-graduate has also been influenced by Dubai’s be realised… We benchmark the success of a building against
growth, which he’s witnessed during visits to the UAE since those three values.”
the 1990s. Looking ahead Ghaedi said he’d like to continue gaining
Today, Ghaedi is an architect at RMJM’s Dubai studio, experience with his seniors, while sharing knowledge he’s
where he’s been for over five years. Previously, he worked as gained with junior architects and recent graduates.
a sustainability consultant at Buro Happold and an architec- “I haven’t reached my senior stages yet – I still have a lot to
tural intern at Meecon Consultants. learn,” he said, “but at the same time, I’d like to start teach-
“Ever since I joined RMJM in 2013, I’ve been exposed to so ing juniors what I’ve learned so far, especially since coming
many projects of different scales and in different locations,” out of the university bubble.”
he said. “Some of the key ones include Gate Avenue in Dubai’s
DIFC, the Innovation Hub in Dubai Media City, and most
recently, the Brasov masterplan in Romania.
“At RMJM, we have the freedom to design and connect the
city [through] our proposals. So the Gate Avenue project, for
example, was the missing piece of the overall masterplan of
DIFC. It’s not just a retail stretch of 900m, it’s also a land-
scaped deck that all these buildings connect to, and my spe-
cific [responsibility] was the DIFC mosque, which will open
in 2019.”
Many of Ghaedi’s projects are large-scale, and he’s mostly
worked in the hospitality, retail, commercial and master-
planning sectors. His two upcoming projects include a mas-
terplan in Muscat, Oman, and a mixed-use development in
Cairo, Egypt that involves hospitality and retail.
“We approach projects with three [considerations],” he
said. “The first is the ethical responsibility that architects
have to the users and the occupants of the space. They have Words by Rima Alsammarae
to feel comfortable and we design it for them at the end of the Images by Rajesh Raghav

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 INSIGHT: NEW ARCHITECT / 13

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

14 / INSIGHT: CONCEPT DESIGN

Basra Multi-Functional
Hajizadeh & Associates releases details
of a mixed-use project planned for
southern Iraq

Award-winning Iranian architecture firm Hajizadeh & hartaq to expand the project into a complex atmosphere. By
Associates has released details of its concept design for a emphasising pre-fabrication, we reduced the cost of the en-
mixed-use project in Basra, Iraq. tire building system.”
The design for Basra Multi-Functional features a hotel, Principal architect on the project was Kourosh Hajizadeh
restaurants and cafes, amphitheatre, cultural centre, offices, with Amir Hossein Hajizadeh the lead architect. The design
a bazaar, as well as leisure and entertainment facilities such team also included Alireza Karimi Kolor, Marzieh Jafar-
as a Ferris wheel, water park, swimming pool and sail club. Parham and Adibpour-Hanieh Aleyasin.
“Studying the environment of the site highlighted the Hajizadeh & Associates are uncertain of the construction
strengths and weaknesses of the surroundings,” said the details for Basra Multi-Functional, but the practice is hope-
architects. “This divided the project activities into three ful for the project to break ground soon.
zones: accommodation, commercial and leisure. These three
zones are physically separated, although the gaps created
in the middle have made the project a united package that
works with the city.”
The first zone contains the office building, hotel, restau-
rants and coffee shops, conference halls and cultural cen-
tre. The second zone houses the tower, which was designed
to feature cutaways and cavities in its form to minimise its
impact on Basra’s urban landscape. Near the tower sits the
Grand Bazaar and commercial spaces. The leisure and enter-
tainment functions are in the third zone.
“During the design process of the project, we looked at the
physical and [cultural] similarities of Iran and Iraq,” said the
architects. “By taking our common history and returning to
the Parthian period, we realised that the proportions used in
that period were all created from a simple square, and in all
Parthian countries, this method was the physical formula-
tion of architectural works. By using this technique, we uti-
lised variously-sized cubes across all of the project compo-
nents, which was inspired by ancient arch structures. Words by Rima Alsammarae
“This also helped us create simple modules known as Cha- Images courtesy of Hajizadeh & Associates

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 INSIGHT: CONCEPT DESIGN / 15

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16 / INSIGHT:RESIDENCE

Villa Safadasht
Kamran Heirati Architects designs a
villa to honour the ‘Persian garden’

Located in Karaj, Iran, Villa Safadasht, designed by Kamran In fully opening up the central part of the house, the pri-
Heirati Architects and named after its area, seeks to honour vate and public areas are separated to allow “the landscape
the Persian garden – an essential element to Iranian archi- and regional wind to pass though the building”.
tecture, said the architects. Columns are placed 15m apart on either side of the swim-
“In a Persian garden, architects must see the building and ming pool, with the concrete floor slabs reinforced ensuring
site as a whole, unique entity,” Kamran Heirati said. “This that no additional supports block the view. At each end of
project also identifies itself as a passage or frame that em- the passageway, two concrete staircases connect the ground
phasises the presence of the site, not only from the exterior, and first floor. In one block, light floods the central living
but as a stream that flows around and inside the building.” area, casting shadows of the wires used to support the stairs
The axes of the building and site intersect at the centre of across the space.
the building, a space where the exploration of the building is
designed to start and end. An elevated passageway spanning
the swimming pool connects the two monolithic blocks that
make up the villa.
Designed for a client who works in the food industry,
the building is divided into two parts: an entertainment
area with a Jacuzzi and an outdoor pool, and a more private
residence.
“This building was meant to connect both sides of the site
and define itself as a window frame for spectators,” said Hei-
rati. “It was meant to be a simple, solid and pure object with-
out any unnecessary complexity in order to emphasise the
openings and the green landscape.”
Unpolished grey Esparakhon – a local dolomite stone
found in Iranian Azerbaijan – was used to clad the exterior
and interior walls of the 1,100m2 house.
At the rear of the building, a thick horizontal concrete
beam runs parallel to the passageway, forming an elongated
void that opens the courtyard up to the sky. In line with tra-
ditional characteristics of traditional Iranian architecture, Written by Rima Alsammarae
the studio sought to envision the building and garden as a Images courtesy of Kamran Heirati
whole entity. Architects

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Takeshi Maruyama
The Dubai-based architect and academic shares his thoughts on
incorporating Japanese design sensitivities in UAE projects
D
ubai-based Japanese architect Take-
shi Maruyama has been working in
the Middle East since 2006, when he
relocated to the UAE in an effort to
break free from the decades-long economic cri-
sis facing his home country.
A 1996-graduate of the University of Tokyo,
Maruyama first gained experience in the build
and design industry with Takenaka Corporation
– one of Japan’s largest architecture, engineer-
ing and construction firms – however, due to the
restraints of the country’s political and econom-
ic conditions, very few of his projects had ever
been realised, leading him to look elsewhere for
more opportunity.
“I had been interested in working abroad
since childhood,” he said. “And while I was in To-
kyo, I heard about an Emirati architect in Dubai
looking for Japanese staff to join his studio. So I
came to Dubai to meet him, and I found that not
only was he very talented, but we shared similar
design styles.”
Maruyama’s meeting with Khalid Al Najjar,
principal and founder of DXB-Lab, proved fruit-
ful and he joined the growing practice in 2006.
Contributing to a number of projects until 2010,
when an offer to design a Japanese restaurant
in Egypt came in, Maruyama went on to estab-
lish his own practice, Takeshi Maruyama Design
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INTERVIEW / 19
Unit, in 2011 and launched offices in Dubai, Cai-
ro and Tokyo.
“My first project was a Japanese restaurant
in Cairo,” he said. “I stayed there for a couple of
months to complete the design, and afterwards
I was invited to design an event space and cafe
in Dubai called the Archive. I also designed
[UAE publisher] Brownbook’s office in Dubai’s
financial district. That was really the beginning
of my practice.”
In 2012, a chance meeting with Emirati ar-
chitect Ahmed Abdulrahman Bukhash, founder
of Dubai-based practice Archidentity, led to an
ongoing collaboration between the two. Today,
Maruyama works with Archidentity as an asso-
ciate on architectural projects, but his own prac-
tice continues to take on interior design com-
missions. And in 2014, he joined the American
University in Dubai as a faculty member, where
he continues to teach fifth year students as an
assistant professor of architecture.
“I really love minimal design,” he said. “Japa-
nese architects are trained to take care of the
details, not only the concept design. We know
how to realise an idea with very clean, beautiful
elements. I learned how to give a touch of sensi-
tivity to a project while at Takenaka.
“To me, subtle sensitivity is in the fine details
– how lines or edges are related to other points.
20 / INTERVIEW

The recently completed IZ-House in Dubai, designed by Archiden-

tity and Maruyama

Inside the IZ-House. Maruyama’s practice also takes on interior

design projects

While the front of IZ-House features few openings, at the rear, it

opens up to private spaces

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The Archive in
Dubai, renovated
by Maruyama
The Archive
space before
renovation
If you don’t mention it, you wouldn’t recognise it, but uncon-
sciously, such arrangements appeal to the mind,” he added.
Since 2006, most of Maruyama’s clients have been Emirati,
despite working in an international city where the expat pop-
ulation outweighs the local. Maruyama’s explanation? Emi-
rati and Japanese cultures share many similarities, which is
reflected in a client’s spatial requirements.
“Middle Eastern cultures are closer to Japanese culture,
than, say, Western cultures. And I think one example of that is
the hospitable behaviour, like the way you welcome someone
to your home. Even in spatial character, we have similar spac-
es. For example, Emirati houses traditionally have a court-
yard, and we have what is called ‘engawa’. It’s an ambiguous,
half-outdoor space where we gather and have tea.
“I don’t think Japanese architects are aware of the cultural
similarities,” he added. “And while both Japanese and Arabs
are heavily influenced by Western architectural styles, once
we go back to our cultures, we can find these connections.”
Maruyama is currently working on a Japanese restaurant
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INTERVIEW / 21
in Abu Dhabi as well as a number of private villas for Emirati
clients in other emirates.
Between his work at the American University in Dubai and
his practice, Maruyama’s identity as a Japanese architect is
magnetic – and he’s aware of its pull, although it causes a lot
of pressure to meet expectations, he said.
“People expect a Japanese architect to be organised, cre-
ate clean details and high-quality work, and I found this a bit
challenging in Dubai,” Maruyama said.
“The quality of Japanese projects is supported by Japanese
craftsmanship, which is hard to expect in Dubai. It’s always a
challenge, but I try to localise the Japanese method and what
I’ve learned working in Tokyo. So yes, a project in Dubai won’t
be the same as what you’d find in Japan, but I believe philoso-
phy or spirit can be reflected.”
Words by Rima Alsammarae
Images courtesy of Takeshi Maruyama
 22 / BRAND VIEW
INTERIOR DESIGNERS
AND ARCHITECTS
VISITING VITRA
Laura Bielecki shares her views on Geberit’s Victor J Papanek exhibition at the Vitra Campus
and the importance of green design
A recent group that visited
the Vitra Campus with Geberit
The Vitra Campus in Weil am Rhein in Germany is well known
among interior and industrial designers, as well as architects.
The buildings on the grounds were created and built by large
and international architecture firms, including Frank Gehry,
Zaha Hadid Architects, Herzog & de Meuron, and many others.
Walking through the campus is like strolling through a huge
architectural exhibition, with the buildings on display serving
more as sculptural pieces of work.
In addition to the buildings, Vitra’s programmes are a massive
draw for architects. The Vitra Design Museum, for one, is featuring
a retrospective of the life and works of Victor J. Papanek, who
was a progressive thinker, educator and influencer considered
far ahead of his time. Among his many theories, he claimed that
people should actively contribute to designing the environment
by inventing tools, educating children and creating art. He
was an advocate for the poor and he asked for social justice.
Papanek was also a fiery environmental activist who criticised
pollution and thoughtless waste. He summoned designers to
involve their customers and end-users in the process of design,
as design had to be functional and useful, he said.
Geberit, the exhibition’s main sponsor, feels strongly
connected to Papanek, as the company’s maxim, “design meets
function”, is, overall, informed by his thoughts. Inviting architects
and designers from all over the world to visit the space, Geberit
offers the opportunity to experience the energy of the campus,
MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
Laura Bielecki
and aims to revive the perception of Papanek’s ideas, which are
more relevant than ever.
One of the interior designers who recently visited Vitra was
Ellington Group’s Laura Bielecki. Ellington is one of the prime
real-estate companies in Dubai that develops art and design-
led properties in the emirate’s areas, such as Palm Jumeirah,
Jumeirah Village Circle, Meydan and Downtown Dubai. Bielecki
studied and worked in Canada before moving around the GCC
and settling in Dubai. Awarded ‘Middle East Young Designer
of the Year’ in 2012, the interior designer is interested in green
buildings and their construction process. She carefully considers
the products she incorporates into her projects.
Here, Geberit speaks to Bielecki about her experience.
You graduated with a Bachelor of Applied Interior
Design in Calgary, Canada. Did you come across Victor
J. Papanek? Are you familiar with his work and his
theories?
Yes, I am. During my studies we looked at many contemporary
designers, theories and concepts, and Papanek was one
of them. He influenced my personal design philosophies,
encouraging me to approach design with the priority of form and
function and the emphasis on bettering the lives of my projects’
inhabitants. By putting extra thought into my designs, I am able
to make conscious environmental and efficient design decisions
 BRAND VIEW / 23

that benefit both the sales of our projects and the end-user.

Sustainability and environmental protection were

important topics for Papanek, and continue to be
for Geberit. You have a LEED accreditation for green
building, and therefore work with those considerations
too. How important is this in your daily life?
Coming from Canada, it was very important for my projects
in North America where LEED has a strong influence. In many
respects Dubai still has a long way to go for implementing
sustainable techniques into legislation and common practice.
I work on bringing in sustainability where I can, with material,
sanitary, lighting selections, as well as thinking of waste products
and efficiency of material use. It is still very difficult to convince
clients and end-users that it’s worth the effort and the financial
impact that sometimes accompanies such decisions. However,
there is a huge design community in Dubai filled with individuals
who are incredibly proud of the work that they do and they really
go the extra mile to design something that’s special.
There has been progress in the past few years in the UAE,
specifically Abu Dhabi, which is moving in the right direction. When
efforts are realised as regulations rather than leaving it to designers
and clients’ personal visions, the effect is much stronger. LEED
does not have a strong influence in the UAE, although Estidama
is powerful in Abu Dhabi, with the Pearl Rating System currently
applied to all new buildings in the emirate. Abu Dhabi has taken
the lead in the UAE for sustainability. Additionally, the Sustainable
City Dubai has created a community around recycling, community
living and green building standards via a three point approach:
social, environmental and economic sustainability.

Frank Gehry’s building

on the campus

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24 / COVER STORY

Valiasr Mosque
Designed by Iranian architecture practice Fluid
Motion Architects, this controversial mosque in
Tehran challenges traditional Islamic design
Words by Rima Alsammarae
Images courtesy of Fluid Motion Architects

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 COVER STORY / 25

S
itting in the cultural heart of Tehran, where bookstores, educational insti-
tutions, a 1970s theatre and a park encourage the revolving presence of the
city’s intellectuals, Valiasr Mosque, a recently completed building by Ira-
nian architecture practice Fluid Motion Architects, sets a new tone.
Challenging traditional Islamic design through its transformation of the
mosque’s roof as a plaza, the building has long spurred national conversation – even
before it was built.
“About 17 years ago, the former mayor of Tehran decided to boast the dominance
of religion on art, politics and culture by building a huge mosque,” reads a statement
released by the practice. “[It was designed as] a classic mosque with a few minarets
and a 52m high dome, which was about three times bigger than the City Theatre.
“Following public opposition, especially from artists, against the huge scale of
the mosque and its negative impact on the cultural atmosphere of the area, the
mosque’s construction was suspended for two years. Afterwards, in 2007, while
parts of its excavation, foundation and basement structure were executed, the city’s
new mayor called on us to find a solution, and design a new mosque.”

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While adhering to the religious func-

tion of the building’s programme, Fluid
Motion Architects’ solution had to re-
duce the mass of the previous design
and, moreover, respect the cultural at-
mosphere of the area – the inhabitants
of which are mostly within the 15 to 40-
year age range. The mosque, said the
architects, should be an inviting space.
The architects further intended to
enhance the spiritual aspect of the
crowded city, while also meeting global
sustainability standards and a restric-
tive budget.
“We studied the history of mosque
architecture,” said Reza Daneshmir,
managing director at Fluid Motion Ar-
chitects. “And we found our solution
in the first mosque built in Islam – the
Quba Mosque in Medina. It is a hori-
zontal structure that is very simple,
modest and without any extensions.”

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Daneshmir added, “We

eliminated the stereotypical
tall elements, such as the dome
and minarets, and in order to
harmonise with the context,
we designed the roof of the
new mosque in the form of a
sloping surface that rises grad-
ually from the ground along
the park to the height of the
City Theatre. It’s a three-di-
mensional surface that’s partly
concave and partly convex.
Besides maintaining the inter-
connection between the park
and the project, the mosque’s
roof changes its function into
a public space that can work
with its neighbouring theatre at certain times and serve as a
seating platform.”
Covering a total floor area of 25,000m2, the mosque con-
sists of four basements and three above-ground floors, which
house libraries, classrooms, service areas, parking, a meeting
hall, reception hall and a prayer hall.
A new typology for mosque architecture in Iran, Valiasr
emphasises the horizontal expansion of a mosque – a revived
idea from early Islamic era, Daneshmir said.

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“After Prophet Mohammed, elements like the dome and
minarets were added to the architecture of the mosque,”
Catherine Spiridonoff, CEO at Fluid Motion Architects, add-
ed. “And over the centuries, the mosque’s peaceful horizontal
form transformed into a vertical shape as a symbol of author-
ity, boasting the dominance of religion.
“Valiasr is a criticism of the idea of vertical authoritar-
ian structures of classical mosques and proposes peace and
equality. It is the first contemporary mosque with a horizon-
tal-structure-based spatial organisation and has the poten-
tial to open the doors to our perception of mosques and even
other designs in a new era.”
Due to the client’s low budget, the architects chose simple
finishings and materials including inexpensive cream marble
for flooring and walls, white plaster for ceilings and columns,
and washed concrete for the façade and roof.
The building maintains two entrances: one on the west side
and the other on the north. The western entrance features an
Islamic archway, which leads to the entrance hall with a sub-
tle rotation. The second entrance is created with a diagonal
split on the northern side of the mosque and evokes the feel-
ing of walking through a tent.
The different floors are connected via gently sloped ramps
that provide ease of movement for children, elders, pregnant
women and those of different abilities.
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COVER STORY / 29
The mosque’s most notable feature – its roof – maintains
the interconnection between itself and the park. Stretching
over the reception hall, the roof serves different functions,
from being an open space that complements the nearby thea-
tre to being the mosque’s courtyard.
“We used a traditional Persian method to create splits in
the sloped roof,” said Daneshmir. “This provides the entrance
of sunlight, air flow and natural ventilation into the building,
and finally, it saves large amounts of energy. The splits en-
hance the connection between the exterior environment and
the interior spaces.”
Valiasr Mosque was the 2018 winner of Middle East
Architect Awards’ Cultural Project of the Year. The jury com-
mended the project’s unconventional approach to Islamic
architecture.
“The design of spiritual spaces is among the most challeng-
ing, but in recent times, the Middle East has seen a number of
brilliant contemporary projects that redefine their typologi-
cal vocabulary,” the jury said. “This building offers an inter-
esting reinterpretation of the traditional sacred space while
addressing contextual issues.”
Spiridonoff added, “Valiasr Mosque is an attempt to bring
the peaceful, modest structure of the early mosques to the
contemporary era. Our typology revives the forgotten idea of
the Prophet.”
30 / PROJECTS

Kempinski Hotel
Muscat
Woods Bagot designs a modern urban
resort for the Sultanate of Oman
inspired by the landscape of old Muscat

L
ocated in the Omani capital, the Woods Bagot-de-
signed Kempinski Hotel Muscat is a contemporary
reference of locally-inspired architecture, evident
in its façade patterns, the positioning of its build-
ings, and its integrated navigation cues.
The development consists of nine buildings, with spaces
such as a lobby, ballroom, events centre, a residential build-
ing, kid’s club, health club and spa, as well as food and bever-
age outlets. Allowing for the specific buildings to reflect their
own programmes and identities while still partaking in a uni-
fied built form, the development is split into components,
which define a series of diversified plazas and courtyards.
With traditional Omani culture and heritage forming the
narrative of the project, the hotel’s design language aims to
evoke the sense of walking through an old Omani village and
achieves this through the close setting of its buildings, subtle
level changes across the development and its various land-
scaped zones.
One of the most notable spaces of the resort is its lob-
by, flanked in glass and topped with a flat plane roof that is
marked with an ornamental pattern.
“Arrival at the hotel is to be a memorable experience, and
this is celebrated by a distinct lobby,” said Samer Charara, Words by Rima
principal and studio chair at Woods Bagot in Dubai. “The Alsammarae
space is represented in a minimal way to reflect the purity of Images by Tim
its function. The design originates from the nature of lilies in Griffiths

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32 / PROJECTS

a pond, and is inspired by the Al Alam Palace – the ceremonial

palace of His Majesty Sultan Qaboos.”
Charara added that the flared columns in the lobby are
visually held away from the ceiling, allowing the ceiling to
appear as though it’s floating above like a separate element,
creating a “serene environment”.
Both the lobby and the ballroom, although contemporary,
are designed to link back to the resort’s context. The latter’s
prominent location establishes a strong first impression,
and features an architectural design inspired by the Arabic
lantern. Illuminated in the evening, the ballroom reinforces
the hotel as a landmark in the Al Mouj community, and the
overall city of Muscat.
“The architecture of the resort is contemporary with local
and regional references defined by space, form, light, material
and detail,” said Charara. “Its character reflects the rich herit-
age and traditions of the Sultanate of Oman, giving guests and
visitors the feeling of being in a Middle Eastern ‘village’.”
“The urban composition, landscaping and local materi-
als generate the local character,” he added. “The mass of
the building is split in separate volumes defining a series of
diversified plazas and courtyards, different in character, use
and function.”
In addition to the lobby and ballroom, cultural referenc-
es can be gleaned from the various façade designs applied

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 PROJECTS / 33

throughout the project. Inspired by

surrounding landscapes, like the Mut-
trah Corniche, the project features a
variety of geometric patterns, from
the magnified triangular windows on
the ballroom’s exterior to the wooden
screens that filter direct sunlight for the
resort’s bedrooms.
Woods Bagot worked with natural
stone, including different types of mar-
ble and sandstone, as well as timber, al-
uminium, glass, concrete, masonry and
glass fibre reinforced plastics.
Charara noted that many passive sus-
tainable elements were incorporated
into the project, including shading
devices and the use of local materials
where possible, while sunlight and pre-
vailing winds informed the orientation.
“Guests arriving at the hotel will be
intrigued and excited to explore the
project,” he said. “The aim has been to
create a long-lasting experience, offer-
ing various paths through the site and
creating a sense of discovery for guests
and visitors.”

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Sliding Chapel
A non-denominational space for
reflection rises on the site of the ancient
citadel of Byblos

D
esigned by Irish designer and architect Kieran
Donnellan, the Sliding Chapel is a non-denom-
inational space for reflection, located on the
grounds of the ancient castle of Byblos, Lebanon.
Built by a group of participants from the international de-
sign festival, MEDS, which took place outside of Europe in
2018, the chapel was designed to appear as though it’s sliding
down the hill that it sits on, a visual affect achieved by giving
its roof the same slanted angle as the site’s slope.
“The concept is multi-faceted,” said Donnellan. “But the
primary aspect is that it appears to be sliding. This gives it
the eccentric quality of being both anchored and moving
at the same time. This concept of potential movement and
the associated energy informed the decision to char the
exterior skin.”
The simple form has an entrance on one side and a window
on the other, while the floor acts as a datum against which the
sloping roof contrasts. A seat built into the floor invites visi-
tors to relax while enjoying the sea view.
“The chapel’s simplicity gives what is a very small object
much greater strength, and a clear singular appearance,”
said Donnellan. “The reason for the tapering plan was to de-
fine an intimate entrance on one side and a generous view on
the other. The concept of apparent movement and the asso-
ciated energy informs the materiality of the heavily charred Words by Rima
exterior skin.” Alsammarae
In addition to its metal foundation, the chapel is made of Images by Conor
wood recycled from shipping container boxes. Donnellan De Burca and
later charred the material using the traditional Shou Sugi Ban Kieran Donnellan

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technique of tying three boards to a chimney and setting a fire

at the base.
According to the architect, the chapel suits its environ-
ment due to its concept, form and materiality. The concept
of sliding relates back to the terrain, he said, as some of the
surrounding structures as well as the area on the chapel’s cliff
are currently facing their own downward shift. Further, its
“rugged yet elegant” appearance complements the Roman
structures nearby.
“It is a challenge to take a small space and do something
very special with it,” Donnellan added. “The chapel has acti-
vated an area of the citadel complex that visitors normally do
not use. Visitors see the striking structure and walk towards it
through the normally unused part of the site, exploring more
of the ruins in the process. The organisation that manages the
castle are very pleased with it.”

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38 / PROJECTS

International
School of
Choueifat
ATI designs Origami-inspired private
school in the UAE’s emirate of Umm
Al Quwain

R
egional architecture and design practice ATI Con-
sultants and Engineers has designed the Interna-
tional School of Choueifat, a new project in the
UAE’s northern emirate of Umm Al Quwain.
Run by the SABIS school system, the school sits on a
70,000m2 plot in a newly developed area of the emirate.
Planned as a two-phase construction project, the school
aimed to support 550 students in its first year and 2,000 in its
second year, with the first phase and part of the second phase
of the project now completed and currently operational.
ATI’s scope of work included the programming and plan-
ning of the whole campus, the concept design, the schematic
design, design development and construction supervision.
According to the architects, the design of the school had to
integrate various principles, including human-scaled exte-
rior spaces, sustainable and inviting architecture and land-
scape, buildings that define and create protective exterior
spaces, contemporary forms rooted in tradition, clear entry
points and transparency that promotes connectivity. Further
focusing on principles of symmetry, the development’s plan
centres around an open-air courtyard.
Reinforcing spatial and functional efficiency, user groups
are consolidated into zones: primary and secondary grades
are made distinct by separation of shared programmes and
colours within the interior and exterior spaces. ‘Zones of
Activity’ – which refers to areas of academia, arts and athlet-
ics – are differentiated and maintained in an organisational
structure, which establishes curricular focus and promotes
cross-departmental collaboration and resource sharing. Words by Rima
The façade was designed with consideration of the sun’s Alsammarae
trajectory, creating walls that are highly insulated to protect Images courtesy
from thermal fenestration. Projects were also introduced of ATI

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40 / PROJECTS

as shading elements and were carefully positioned to create

the optimum balance between daylight and shade within the
classrooms, therefore reducing the need for artificial lighting.
“Ultimately derived from the functionality of the school,
the playful and contemporary form was devised early in the
design,” said Dilara Ajun, creative director at ATI. “Build-
ings were configured to slow down and block harsh prevail-
ing winds to create comfortable outdoor gathering spaces for
the children. The classroom blocks were staggered on top of
one another to break the monotony of the traditional forms
and enhance the connectivity of the various teaching spaces.
Certain blocks were raised on columns, thereby allowing the
utilisation of the spaces created under these buildings as play
areas and outdoor educational zones.”
Accentuating the main entrance, ATI designed the build-
ing envelope to follow a “twisted” form. The architects, who
noted Origami art as the inspiration behind the design, said
this element helps create a “uniquely playful structure”.
Combined with world-class facilities, the agglomeration of
clusters that outline semi-private open spaces and courtyards
allow children to have visual contact with exterior breakout
spaces and greenery. The whole structure features natural
lighting within its interior spaces, enabling well-being and
positive learning.

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“The children’s movement is guided by the visual stimu-

lants of different colours in the interior spaces,” added Ajun.
“To this end, thoughtful use of clear, soft shades of interior
finishing identifies different areas for different age groups,
while playful designs stimulate and enhance movement and
curiosity in the students’ minds. The colours chosen within
the classrooms have been particularly selected so as not to
overstimulate the children, but rather focus their attention
on the learning activity at hand, all the while creating a warm,
cosy environment that makes them feel comfortable.
“Origami-inspired geometric patterns were used to iden-
tify the classroom entrances, common activity areas and ex-
its to internal and external gardens. Multiple openings in the
form of glazed roofs and atriums create a constant connec-
tion between the interior space and the green patios, bathing
the wall in a mosaic spray of shades.”
The architects noted that the primary intent of the land-
scape was to further offer a diverse range of environments
that are simultaneously stimulating and restful, promoting
outdoor learning, exercise and social interaction. Local tree
and garden plantings provide a variety of shaded exterior
courts, walkways and microclimates, while the arrangement
of play areas, shaders, greenery and material and colour of the
surfaces contribute to lowering the heat island effect.

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 INTRODUCTION / 45

A note from the editor

One-stop shops
UAE architecture practices are growing their services, with many now offering
interior design, MEP and construction supervision

Across the UAE, many large scale ar- beginning, but we make sure that a pro- by ambitious growth targets glob-
chitecture practices are expanding ject is under control from inception to ally, rather than a reaction to current
their business services, aiming to offer completion.” market conditions,” he said. “The
complete packages to clients, including Nathan Cartwright (pg 46) explained growth of an integrated practice is
interior design, MEP and construction that most companies are expanding through consolidation at first and re-
supervision, in addition to architecture. their services through acquisition. peat business through providing good
Such firms include U+A, NORR, God- The advantages of which include qual- service. Expanding based on your expe-
win Austen Johnson, RSP, Dewan and ity guarantee and third-party risk rience and track record, rather than on
many others. This issue’s special report reduction. a promise of what you think you can do
takes a look at the growing trend by “This is predominantly driven is crucial.”
speaking with Nathan Cartwright, part-
ner at Godwin Austen Johnson, and
explores the advantages and pitfalls of
being an integrated practice.
Moreover, in conversation in late
2018 with Pedram Rad and Martin Du-
fresne, co-partners at the Dubai-based
U+A, both noted the firm’s growth
strategy, drawing its immediate success
back to the firm’s ability to offer a pro-
ject’s full range of services.
“Covering the entire scope of work in
a manner that is equally important for
each stage of the project is something
that, as we hear from clients, has been
quite rare in the region. We are very
good at inception. We are very good at
execution. And we are now very good at
construction services,” said Dufresne.
“It’s about having that consistency
throughout, from the white page all
the way down to cutting the ribbon to
the building.”
“Once the [concept] is approved by
the chairman or top management, we
are the guardians of the design,” added
Rad. “Normally, higher management Al Wasl Experience
of any company is only involved in the Center by U+A

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

46 / KNOWLEDGE PARTNER

Q&A with Nathan Cartwright

Partner at one of the UAE’s longest standing architecture and design firms, Godwin
Austen Johnson (GAJ), Australian-born Nathan Cartwright has more than 20 years
of experience working in the construction industry. Before assuming his current
role, he was associate director and head of MEP at URS Corporation, an AECOM
company, as well as principal engineer at Scott Wilson. Here, he discusses the ad-
vantages and pitfalls to having an integrated practice in the GCC.

risk. That coupled with better coordination and efficiency ul-

timately helps our bottom line. More importantly, however,
it allows us to provide a better product to our clients.

What do you think has led to the rising number of

integrated practices?
At present what I see is the large international practices get-
ting larger through acquisition. This is predominantly driven
by ambitious growth targets globally, rather than a reaction
to current market conditions. If anything, we are seeing ex-
isting firms consolidating and going back to their core servic-
es. This is coupled with the trend of more firms outsourcing
work, including service lines. Off-shore business is leading to
a decrease in what is offered locally.

What are the advantages to having an integrated

From GAJ’s perspective, how has expanding
business services contributed to profit and
company success?
Having an integrated practice has enabled us to control ad-
ditional elements of projects thereby eliminating third party
practice?
The main advantages are communication and coordination.
When teams are familiar with working together they feel
comfortable communicating with each other and are more
efficient in completing tasks. Being able to see a colleague
for an immediate response is quicker and more convenient
than arranging a meeting or trying to discuss a matter over
the phone.
What have been the challenges?
We have had a number of challenges as you would expect in

of readers use

NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC
91% Middle East
Architect to
make purchasing
decisions

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

 KNOWLEDGE PARTNER / 47

setting up new delivery lines. These include both in-house

challenges, such as new integrated QA procedures, and
external challenges in selling these service lines to other
architectural firms who may see us as a competitor. The
major challenge though is competing commercially. We do
all of our work in-house in the UAE, and find it difficult to
compete with those who have low-cost production houses
elsewhere. The challenge is to get the client to see the value
in what we do locally and the risk we eliminate by doing so.

How has being an integrated practice worked

against GAJ?
We have, on occasion, had clients request that the archi-
tectural and engineering firms must be separate, and we

of readers consider Middle East

98%
CONTACT OUR DAVID BENTLEY
Architect editorial to be good or TEAM TODAY TO Sales Manager
better than other publications REACH THE GCC’S T: +971 4 444 3396
that focus on the architecture ARCHITECTURAL M: +971 50 4541321
sector in the region MARKET E: david.bentley@itp.com

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

48 / KNOWLEDGE PARTNER
respect their decision; however, these situations are few
and far between. The challenge isn’t in having an integrated
practice, it’s in having an integrated practice that produces
its work in-country. Fortunately having been in the region
for the better part of 30 years, we are able to show our clients
examples of the advantages of being an integrated firm that
produces its work locally through our portfolio.
What do you foresee as the pitfalls of being an
integrated practice?
There is the risk in putting all your eggs in one basket. This has
always been there contractually with the lead consultant
arrangement favoured in this part of the world. From a
client’s point of view, when dealing with large multidisci-
plinary firms, the key is ensuring you get the ‘A-team’ on
your project.
MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
How has GAJ managed the expansion to incorporate
different services?
The growth of an integrated practice is through consolida-
tion at first and repeat business through providing good ser-
vice. Expanding based on your experience and track record,
rather than on the promise of what you think you can do is
crucial. In our opinion, in the current market, it is impor-
tant to have a solid base for growth rather than speculatively
spending resources in the hope of gain. Targeting the correct
markets and clients with proven track records, in both deliv-
ery and payment, is important.
What do clients gain from integrated practices?
I believe clients generally have greater confidence in their
project being realised on time and to budget through a bet-
ter coordinated design approach with an integrated practice.
 KNOWLEDGE PARTNER / 49

Special Report
March 2019
Middle East Architect’s March is-
sue will focus on urban and green
spaces across the GCC. From
Dubai’s new masterplan projects
that emphasis community en-
gagement to neighbourhood parks
in Kuwait that offer the commu-
nity a place of respite, the special
report will cover variously scaled
projects across the region.
If your practice specialises in
these projects, get in touch with
Middle East Architect’s team to
be involved in the special report.

Reasons to feature your

company inside the April
issue:
* 28,443 total brand readership.
* 91% of readers use MEA to make purchas-
ing decisions.
* 98% of readers consider Middle East
Architect editorial tobe good or better than
other publications that focus on the archi-
tecture sector in the region.

Page 46: Nathan Cartwright, partner at GAJ Contact our team today for
your tailor-made package
Page 47: GAJ’s interior work on Mysk Al Mouj, a hotel in Oman
Dave Bentley | Sales Manager
T: +971 4 444 3396 | M: +971 50 4541321
GAJ’s architectural work in Dubai’s Al Seef development E: david.bentley@itp.com

GAJ’s interior design work for Al Bait in Sharjah, UAE

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

50 / BRAND VIEW
50 / LAST WORD

U+A looks ahead

By Malcolm Macleod, project director at U+A
Innovating the future through the Dubai, situated in Al Jadaf through
design of the built environment in the successful implementation
Dubai is a privilege that U+A has had of the Minergie Swiss Energy
the pleasure of contributing to for Consumption rating system.
the past decade. We have welcomed Additionally, U+A’s mindful
challenges presented by context, balance of pragmatic design,
budgets and visionary leadership. ‘imagineering’, and maintaining
Adapting to an ever-changing its unparalleled passion for design
zeitgeist, our rejection of the ‘one size by pushing boundaries of what’s
fits all’ approach continues to provide possible manifested another first
our team with unprecedented for Dubai – the Marasi Water
opportunity. Homes in the Marasi Business
Our company ethos is informed, Bay development.
in part, by exposure to Dubai’s Looking ahead to the launch
multiculturalism, as well as its truly of several projects, including
idealistic leaders who continue to the Villa Amalfi on Daria Island
afford the architecture profession Jumeirah and the Executive
the opportunity to design and build Residences at Park Ridge, we
places that inspire. remain fuelled by the drive of a
Working with advanced building buoyant future and inspired by
methodologies and component the kaleidoscope that is Dubai.
systems that help manifest our At U+A we believe that each
designs, we face few limitations as Malcom Macleod opportunity, from masterplans
their creators. Collaborating with to high-rise towers, is to be dealt
manufacturers and conceptualising with a hand-in-hand approach,
the possibility of adapting products to applications, closely aligning all actors involved in the project and
previously untested, has afforded us the ability to create ensuring that no detail is left unturned and unexplored.
many ‘firsts’. It is this collaborative approach, cast against a pluralistic
In this spirit, U+A provided a supplemented value to the experienced team, that allows for the continuation of
award-winning Swiss International Scientific School in our work.

Marasi Water Homes Swiss International Scientific School

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM

MIDDLE EAST ARCHITECT / 02.19 / WWW.MIDDLEEASTARCHITECT.COM
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