2019 On Site Review Report by Raza Ali Dada 5050.UAE

Al-Mureijah Art Spaces , United Arab

Architect Mona El Mousfy, Sharmeen Azam Inayat

Client Sharjah Art Foundation

Design 2010-2011

Completed 2013

Al-Mureijah Art Spaces Sharjah,

I. Introduction

The Al-Mureijah Art Spaces are a series of exhibition spaces set up by the Sharjah Art Foundation (SAF). Following the global success of the the need for flexible spaces to house contemporary art was inevitable. A part of the historic district was acquired by the foundation, and re-appropriated to house spaces for contemporary art, installations and performances. New buildings were designed and inserted into the historical fabric, adding a new typology of buildings to the current mix.

The five new gallery spaces are surrounded by courtyards and older structures that also function as spaces for art, installations and performances. The placement and scale of these spaces is mindful of the historical fabric where one navigates through narrow and shaded passageways punctuated by the courtyards.

A significant urban response eliminates any boundary or formal element to mark the limit of the project, thus enabling pedestrians to walk through or approach the project from a number of sides. This creates an informal relationship and a natural access for the public in this unique urban setting.

II. Contextual information

A. Brief historical background

The of Sharjah covers approximately 2,600 square kilometres. In addition to Sharjah , which lies on the shores of the Arabian Gulf, the emirate has three regions on the scenic east coast at the Gulf of : Al Hisn, and . Therefore it is the only one of the seven emirates to have land on both coasts.

Since 1972, His Highness Sheikh Dr Sultan bin Mohammed Al Qasimi is Member of the Supreme Council of the United Arab Emirates and Ruler of Sharjah.

Sharjah has long been known for its strong commitment to the arts, culture and history. In 1998, the city of Sharjah was UNESCO cultural capital of the Arab World, and it was Capital of Islamic Culture for 2014.

The Sharjah Art Foundation is led by Sheikha Hoor Al Qasimi, and was founded in 2009. The Sharjah Biennial has been running since 1993, and was fundamentally reoriented in 2003 on the initiative and under the direction of Sheikha Hoor Al Qasimi, introducing a new era for contemporary art in the Gulf. A new curatorial model has been introduced since 2009, and the Biennial has evolved into a significant event not only in the region but on the international art scene as well, attracting a large number of visitors from all over the world.

The Art Spaces were established at the 11th edition of the Sharjah Biennial and have since served not only the Biennials but all related programming by the Sharjah Art Foundation.

1 B. Local architectural character, including prevalent forms and materials

The local architecture is a mix of different eras present around this site and beyond. As the heritage area has been reconstructed, older building types are present around the site including some merchants’ houses that have been preserved to some extent. They typically have courtyards and detailing using woodcarvings for columns and other elements such as beams and railings. Architecture typologies, elements and decorative treatments such as tiles and carving patterns were often imported or brought back on travels, notably from and by merchants.

Looking around one observes a mix of mid- and high-rise construction of a rather rectilinear 1970s architectural language featuring continuous shades and balconies. It is largely functional with occasional and casual inclusion of geometric patterns in details to create relevance to local elements and history.

C. Climatic conditions

Sharjah has a very hot and dry desert climate. Temperatures are in excess of 40ºC. Rainfall is scarce and mostly around February and March. Winters are moderately warm while the breeze in the evening can be cool due to the proximity of the Gulf.

D. Immediate surroundings of the site, including architectural character, access, landscaping, etc.

The site is in the Mureijah area of Sharjah where the immediate surroundings have a mix of building types including the Al-Zahra featuring elements such as decorative tiles. The structures that are part of the (reconstructed) Heritage Area are built in coral stone. Around them, typical 1970s rectilinear mid- and high-rise buildings containing apartments and offices are predominant.

The site is close to the Corniche road with the Gulf beyond it, with little evidence of public activity along the waterfront in this neighbourhood as the road is quite significant and acts as a barrier between the public and the water.

E Topography of the project site

The area of the site and its surroundings is flat with no noticeable change in elevation as one walks around the neighbourhood. Most of the area is paved, with very little landscape.

III. Programme

A. History of the inception of the project; how the project was initiated

The Sharjah Art Foundation and its flagship event, the Sharjah Biennial have a significant presence in the art world. Over the years the foundation has matured into a leading voice from this region in the world.

The Sharjah Art Foundation has been active since 2009 and continued the tradition of the Biennial which began in 1993, under a curatorial model. As the event matured and attracted more attention and participation, it required a more comprehensive set of spaces to facilitate installations, conversations and display of contemporary art.

2 The project is a direct response to not just the demand for space and facility but also the evolution of the Sharjah Biennial and its position within the larger network of such events.

B. How were the architects and specialists chosen?

The architect Mona El Mousfy was a Professor at the and began advising the Sharjah Art Foundation around 2010. She worked on various concepts including their offices and various exhibition designs.

The Foundation and the architect had established a positive relationship and understanding which led to her appointment for this particular project as well. She left the teaching position and took the lead in designing projects for the Sharjah Art Foundation.

C. General programme objectives

The project was conceived under the leadership of Sheikha Hoor Al Qasimi, who leads the Sharjah Art Foundation and has directed the Biennial through the years. The architect and the Foundation had already developed a history of working together for various events serving the Foundation. A good working relationship and understanding between the two existed prior to this project.

The programming was based on two clear objectives. One was to address the Biennial and its various events under the foundation while another was to address the urban conditions under which this project was to take place. Given that the site is in the designated Heritage Area of Sharjah, this combination makes for a challenging discussion and design exercise.

The impact of spaces for art in the cultural and urban realm became central to the programming and the imagined outcomes. To communicate this impact or message it became important for the new intervention not to imitate the reconstructed heritage in the neighbourhood but instead to have its own identity and prove that it can add to the fabric positively and with respect.

The programming aimed to address perceived technical and spatial requirements for the upcoming Biennials and similar events and uses the previous events as benchmarks to calculate new standards.

D. Functional requirements (i.e. architect’s brief)

Given the close collaboration and experience between the architect and the Biennial’s director, a focused brief was prepared. The key desires for this project were:

• Exhibition spaces of varying scales • Flexibility for installations of various media • Use of natural light as much as possible • Courtyards interfacing with exhibition spaces • Circulation to offer maximum accessibility to the exhibition spaces • Interconnected rooftops, available for use instead of equipment • Inclusion of landscaping where possible • Integration of the spaces within the urban condition, to blend in • Retaining the identity of new interventions.

3 IV. Description

A. Building data: volumetry, massing, number of units, surface in square metres, etc.

Total building structures: 5

Buildings G and H have a courtyard (250 square metres) between them and are considered one unit.

Building F 152 square metres Clear height 3 metres Building G, H 499 square metres Clear height 3metres, 4.4 metres Building I 323 square metres Clear height 6 metres Building J 230 square metres Clear height 4.35 metres, 3.5 metres Building P 587 square metres Clear height 8 metres, 3.21 metres, 3.12 metres

B. Evolution of design concepts, including:

1. Response to physical constraints – siting, climate, plot ratios, etc.

The project consists of five buildings that had to be inserted in the Heritage Area. The site already has older buildings reconstructed in the 1990s as an act of preserving the heritage. The new buildings have been placed using the traces of older foundations and locations of structures that were not present any more, thus allowing for a street or circulation pattern that is close to what must have existed years ago.

The architect has used a planning and siting strategy to create courtyards to enable public gathering and nodes within the project. These spaces allow for various forms of programming by the Foundation and also provide some relief as most circulation around the project is narrow.

The narrow circulation helps to create a shaded space, as the climate is fairly hot, and also aids in wind circulation, in contrast to vast open and hot spaces around it. The white-cube solid forms are bright during the day and are clearly different from the pale plastered walls of the heritage buildings. However, the contrast is not severe. Due to the limited perspective in narrow walkways or streets, one engages with the planes of the buildings as much as or perhaps more than the forms.

2. Response to user requirements; spatial organisation

The project addresses the Sharjah Art Foundation’s needs directly. Users get to experience the synergy between the old and the new – something that attracted the Biennial to this site years ago.

Five purpose-built galleries blend into the organic geometry of the old historical city plan and provide covered or open exhibition spaces and courtyards for multiple functions and support areas as required.

The project is supported by amenities such as cafés, gallery spaces, and courtyards for concerts and installations. Such open spaces are occasionally used by the community as a gathering space or to watch a film projected onto one of the large blank walls of the galleries.

This ability to reach out to the users who may be art lovers or just the locals from the neighbourhood has gained a positive response for the project.

4 3. Purely formal aspects – massing, articulation of façades, decorative features, use of traditional motifs, etc.

In terms of form, the buildings are white-cube-like spaces of varying scales. The larger or taller ones are placed in the centre and shorter ones more towards the edges, so there is a gradual increase in scale as one walks into the project. Due to narrow streets/walkways, one does not get to view a form in its entirety anyway.

The buildings are placed in a seemingly informal manner but they trace out footprints of earlier structures that used to be present at this heritage site; therefore they are not placed in a regular grid and their geometry is not regular either. They are however simple and rectilinear with no curves or sloping planes.

Some structures have negative courtyard areas within them whereas some have been sited such that the narrow streets open up to form a courtyard adjacent to the new building. Narrow walkways all around the buildings complete a pedestrian network that goes through the site and connects to its immediate surroundings.

The blank white façades are without any ornamentation or decorative features. The buildings retain their own blank character in contrast to the heritage buildings as part of the brief and pursue an enriched experience by adding a new typology in the neighbourhood.

4. Landscaping

Some trees were planted recently at one of the approaches from the west, close to the welcome centre. This used to be a parking lot which is now a landscaped pedestrianised space and has become more welcoming because of the plants. Some of the courtyard spaces have local trees that have matured; one of the courtyards acts as a community garden that reveals a relatively denser landscape. Hard surfaces defining walls, walkways and building volumes remain dominant in the visitor’s experience despite some of the landscape that one comes across.

C. Structure, materials, technology

1. Structural systems; in restoration projects, structural interventions

Framed concrete structure has been used throughout, except for one building which is a steel structure sporting a tall open hall and a hanging mezzanine floor to one side.

2. Materials

Concrete pavements have been used throughout the project. There is a slight difference in shade when it is used in the interior space.

White plastered/painted walls are used on all the buildings. Some walls in the circulation areas and one inside the display spaces use light beige coral stone. It helps relate to and respond to the older construction of the Heritage Area.

Clear insulated glass has been used throughout for calculated windows and skylights. Some of the systems can be pulled completely away to one side, combining the interior with the courtyard space outside.

5 Depending on the nature of displays and exhibitions, various films and/or blinds are used on glass to control the intensity of light.

3. Construction technology

The construction technology is a reinforced-concrete frame throughout the project, with the exception of one building which has more of a warehouse feel and uses mostly steel with concrete for flooring. Concrete block has been used as an infill for walls which have been finished in a bright white plaster.

In the circulation areas separate from the new Art Spaces but part of the same project, some coral stone walls are made to appear like masonry walls.

4. Building services, site utilities

Due to the climate, extensive air-conditioning is required which is provided via a central plant located towards one edge of the site. MEP services run underground below the narrow streets including water, electricity and air-conditioning and are eventually plugged into each building as required. This is a challenging method rising out of the need to keep all rooftops free for programming as per the initial brief. The UAE’s first nitrogen-based fire-suppression system has been installed to protect artworks, also being safer to use in the context of visitors and the environment than sprinkler methods.

D. Origin of:

1. Technology

The reinforced-concrete-frame and steel-frame structures have been erected through conventional construction methods. These are considered a standard construction method since most buildings in Sharjah have been erected in a similar manner. MEP systems have been laid out in a relatively extensive manner where all services originate from a service building linked to an underground network that serves all the new buildings. This hints towards the importance assigned to freeing the rooftops of the new buildings for maximum potential of their use. Lighting, as understood, is highly specialised due to the diverse requirements for sensitive artworks and installations of varying scales. Daylighting is adjustable through blinds and applying films to achieve the desired levels of natural light.

2. Materials

The only traditional locally sourced material is coral stone for some of the walls in the exterior circulation areas and one instance within a gallery space.

3. Labour force

No specialised labour was required. Locally based contracting firms were sufficient.

6 4. Professionals

Client: Sharjah Art Foundation Architects: Mona El Mousfy Contractors: Globe MEP Contractor: Scott Wilson MEP Contractor: Geco Consultants: Godwin Austen Johnson Others: Hassan Ali Al Jaddah (Technical Client Representative and SAF Operations Director)

V. Construction schedule and costs

A. History of project design and implementation, with dates

2010: Commission June 2010 – September 2011: Design October 2011 – January 2013: Construction March 2013: Occupancy

* Design phase extended into design-build

B. Total costs and main sources of financing

* No Land cost as it is government-allocated land

Building cost: 48,500,000 AED (11,723,000 EUR) (current exchange rate) Cost per square metre: 11,823 AED/m2 (2,857 EUR/m2)

* costs reflect the built volumes only – exterior courts etc. not included

VI. Technical assessment

A. Functional assessment (use)

It was after Sharjah joined the United Arab Emirates in the 1970s that the planned modern interventions disrupted and disconnected the traditional spaces. In the 1990s, the loss of place identity resulted in the documentation and restoration of the historical buildings, demarcation of the Heritage Area, and the reconstruction of selected lost structures, including Al Hisn Fort and the city wall.

In the heritage quarter, walking the narrow streets amid the plastered walls of the historical structures has a certain charm to it. However warm, harsh or bright, there it is a pleasant experience to share in close proximity with fellow passers-by, appreciating the occasional tree and the breeze near the water. There is movement. Movement of planes, views, wind, shadows and people. Within this movement is the insertion of the new Art Spaces which seem to effortlessly do the same dance and assemble naturally in the geometry of

7 the Heritage Area. Carrying their own relatively sterile, but crisp and bright envelope, they manage to uplift the spaces and confidently assert their position as the new attraction of the Heritage Area.

Since this area was already marked as a preferred area for artists and their installations, the inclusion of new gallery spaces has only broadened the opportunities for artists and locals alike. The spaces work seamlessly during the Biennial and create a rich and interactive atmosphere as users move through indoor and outdoor spaces. The scale of the buildings and the circulation through narrow walkways somehow enriches the idea of discovering the various types of art on display. One discovers space, landscape and art in one stream and while doing so, the distinction between the old and the new almost disappears.

The project, in a physical sense, sites itself in the Heritage Area by being true to its nature and respectful of its immediate surroundings. It opens up to the general circulation in the area to become more accessible and to trigger further opportunities for development.

For its intended use, it carefully and fully provides for its function and carries options and opportunities that are yet to be tested. From streetscape to roofscape, the project is geared to serve a myriad of programming options and opportunities.

B. Climatic performance, lighting, natural and/or mechanical ventilation, sun control, insect control, acoustics, orientation, etc.; description of systems developed and utilised

In the hot desert climate of Sharjah, there must be proper and extensive climate control to display art that is usually of high value. Clearly the project had to be fully air-conditioned and would require a reasonable amount of resources to keep it running. HVAC systems are set up such that a main mechanical building serves all the buildings through underground piping (below the circulation areas) and each building then has a local unit that provides the desired humidity and temperature.

Similarly, special lighting is a core requirement along with daylighting. Controlled but measured daylighting is provided through windows and skylights using relevant specifications for glass and sections considering the possible heat gains. Various lighting conditions are required for different kinds of exhibits. Rolling blinds and films are used to either block or filter bright light depending on the required conditions.

C. Response to treatment of water and rainfall; discharge of water, and retention and release system(s), if any

N/A: Not enough rain to warrant a strategy

D. Environmental response, adaptation to the natural environment, adaptation to native flora and fauna

Only in the urban context can the environmental response be discussed. The project creates a homogeneous environment despite its own identity, creates or re-creates public spaces of interaction, and incorporates landscape through local species where required.

As for sustainability measures, there is no evidence of their priority in the programming or execution of the project.

8 E. Choice of materials, level of technology

The materials for the structures and the finishes are all geared towards the ultimate function of the spaces and are appropriately selected. Concrete flooring and white plastered walls inside and outside create a homogeneous experience and are ready for any modification as required by the artists or their programming.

The level of technology used is rather conventional. Structures and finishes are all readily used in the industry and available at hand. However, some engineering solutions such as provisions for lighting and media are extensive owing to the function.

F. Response to, and planning for, emergency situations, i.e. natural disasters, floods, winds, fires, earthquakes, etc.

Fire is the only main concern here. Value attached to artworks is quite significant and keeping them from an accident is top priority. The nitrogen-based firefighting system is much advanced and the first of its kind in the UAE. It is safer for the occupants and the environment as well, compared to conventional sprinkler systems.

G. Ageing and maintenance problems

There are no apparent problems. As parts of the building are occasionally worked on in preparation for various shows and events, the building is usually being attended to by the maintenance and facility crew which makes it easier to keep the health of the facilities in check more often than usual. Being bright white, it is assumed that some routine replastering or painting is required over a period of time to keep that contrast with the older sandy or pale beige plastered buildings in its surroundings.

H. Design features: massing and volume, articulation of spaces, integration into the site (topography and neighbouring buildings)

The buildings fit in with the immediate surrounding fabric quite successfully. The new structures, despite being more slick and crisp, take advantage of the fact that they are not entirely visible as a form once one enters the area. The taller volumes are placed towards the centre of the composition, therefore do not feel imposing. The placement of the forms is such that they play along with the historical pathways and create courtyards to provide breaks in circulation and programming. This rhythm of narrow and open spaces is quite enjoyable, and the irregular geometry of the older streets has been retained while planning the new buildings as well, resulting in irregular shapes that naturally fit the larger masterplan.

I. Impact of the project on the site, in terms of increased circulation or vehicular movement, changes required for infrastructure (particularly for projects in high-density areas), etc.

There is subtle and strong impact on the site. The community’s access into the site does not have conventional boundaries or borders, so there are a number of walkways that traverse through the heritage area and the Art Spaces project as well. It is the user’s choice whether to use it as a thoroughfare only or to engage with the activities. Obviously, during specific events and Biennials, for most publics this area becomes a significant destination.

9 Vehicular movement is only on the adjacent Corniche road and an offshoot that brings visitors to a parking lot towards the west. The entire site is otherwise a pedestrian affair.

Pedestrian traffic has obviously improved as the streets have been opened up from a gated community condition to that of a thoroughfare.

J. Durability and long-term viability of the project

The long-term viability is justified given the broader picture of Sharjah and its initiatives relating to culture and the arts. The Sharjah Biennial is very successful, and is creating a ripple effect, with other artistic events springing up in the area. More programming would mean greater need for the use of such facilities.

An interesting question to ask is if this will trigger similar developments towards the north-east where another cluster of buildings around the is used by the Sharjah Art Foundation for the Biennial. It may be fair to note that viability would naturally imply some kind of expansion into adjacent areas.

Durability does not seem to be an issue since all construction and display systems are well thought out, flexible and well built.

K. Ease and appropriateness of furnishings, interior design and furnishing

The buildings are bare and minimal due to the particular brief and their function. The interior spaces are similarly simple and bare with ample light and volume for their function. Much emphasis has been put into flexibility and the ability to accommodate various systems for media and presentation which should serve the facility well for quite some time. Finishes are simple and appropriate.

VII. Users

A. Description of those who use or benefit from the project (e.g., income level, socio-cultural profile, etc.)

Users are art aficionados, artists and locals. I was able to witness the events of the Sharjah Biennial – what this site was primarily developed for. There were people from many countries of the world – groups small and large, and some individuals and students walking about in the spaces as if they were entirely familiar with the area. For a first-timer, navigating can be a bit challenging through the crooked walkways; it can be hard to keep one’s bearings at the beginning. Nobody seemed lost, though. Open courts were extensively used for performances, gatherings and even lectures.

B. Response to the project by clients, users, community, etc.

1. What do architectural professionals and the cultural “intelligentsia” think about the project?

The project has been published and written about in a few publications. It clearly hinges on the idea of the Biennial and the art-related developments in the region. There may be concerns around the kind of preservation that took place in the Heritage Area through reconstruction and through erasing some of the older history, but the new spaces may not be directly responsible for any of those actions.

10 Users enjoy the synergy between the old and the new and appreciate the dynamic condition between the two.

2. What is the popular reaction to the project?

People talk about the project with utter fondness. The fact that much interaction takes place while one is moving around the project perhaps enables people to have a rich exchange while they are at events that either encourage or demand such an experience. Courtyards, cafés and galleries have always made it easier to have a dialogue, explore new media and meet people.

Since the Sharjah Biennial takes on a regional dialogue, the project puts its location and context to good use and does the same.

3. What do neighbours and those in the immediate vicinity think about the project?

The growing popularity of Sharjah’s art scene is welcomed by everyone. Given the existing edge of the project, there are varying conditions and most neighbours are to one side of the project only. Businesses in the commercial area on one side are happy to see greater footfall generated by the project. Low-rise housing blocks from the 1970s in the vicinity may seem like a challenge to preserve. Will they be gentrified? Will someone figure out how to keep a diverse demographic in the same area? The residents did not mind the new project but were less enthusiastic about art or film unless the content was about a subject that relates to diaspora. So in some ways, everyone does get to benefit.

VIII. Persons involved

Client: • Sharjah Art Foundation, Sheikha Hoor Al Qasimi, president and founding director • Hassan Ali Al Jaddah, operations director and engineer client representative

Architects: • SpaceContinuum Design Studio, Mona El Mousfy, founder and managing director • Sharjah Art Foundation, Sharjah, United Arab Emirates, Sharmeen Azam Inayat, assistant designer

Consultants (architecture and engineering): • Godwin Austen Johnson, , United Arab Emirates, Jason Lloyd Taverner, partner and technical coordinator • Paul Crawford, architecture coordinator

Main Contractor: • GLOBE, Sharjah, United Arab Emirates, Abdul Hameed Muhammad, construction coordinator • Masroof Ahmed, site supervisor

MEP Consultants: • Scott Wilson (now part of URS Corporation), , United Arab Emirates • Kathy Crocker, consultant • Nathan Cartwright, consultant • Oliver Price, consultant

11 MEP Contractor: • GECO, Sharjah, United Arab Emirates, Maroof Sayed and Suresh C. Gulatti, mechanical engineers

IX. Bibliography

Robert Carter, The History and Prehistory of Pearling in the , Koninklijke Brill NV (Leiden), 2005, 189.

Ayşe Sema Kubat, Yasemin İnce Güney and Özlem Özer, “Historic city centers under threat: The case of Sharjah, UAE”, A|Z – ITU Journal of the Faculty of Architecture, 11(2), 2014, 131–151.

Samia Rab, “Sharjah: Seascape urbanism in a Khaliji port city”, paper 150, ACSA Association of Collegiate Schools of Architecture Annual Meeting, Montreal, Canada, 2011, 3–7.

Raza Ali Dada April 2019

12 Al Mureijah Art Spaces The project consists of five buildings built within the Heritage Area. The new buildings have been placed using the traces of older foundations and locations of structures that were not present any more, thus forming a street or circulation pattern that may have existed years ago. The immediate surroundings have a mix of building types including the Al-Zahra Mosque featuring elements such as decorative tiles.

No formal element marks the limit of the project, thus enabling pedestrians to walk through the Art Spaces project, creating a natural access for the public in this unique urban setting. The narrow circulation creates a shaded space, aids in wind circulation, a contrast to vast open and uncomfortable spaces around it.

The irregular geometry of the older streets has been retained while planning the new buildings as well, resulting in irregular shapes that naturally fit the larger masterplan. The planning strategy creates courtyards to enable public gathering and nodes within the project. These spaces allow for various forms of programming. As per the brief requirements, rooftops are kept free for programming.

From streetscape to roofscape, the project is geared to serve a myriad of programming options and opportunities. Lighting is highly specialised due to the diverse requirements for sensitive artworks and installations of varying scales. Daylighting is adjustable through blinds and applying films to achieve the desired levels of natural light. Depending on the nature of displays and exhibitions, various films and/or blinds are used on glass to control the intensity of light.