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Al-Mureijah Art Spaces Sharjah, United Arab Emirates

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Al-Mureijah Art Spaces Sharjah, United Arab Emirates 2019 On Site Review Report by Raza Ali Dada 5050.UAE Al-Mureijah Art Spaces Sharjah, United Arab Emirates Architect Mona El Mousfy, Sharmeen Azam Inayat Client Sharjah Art Foundation Design 2010-2011 Completed 2013 Al-Mureijah Art Spaces Sharjah, United Arab Emirates 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 Sharjah Biennial 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 Emirate of Sharjah covers approximately 2,600 square kilometres. In addition to Sharjah city, which lies on the shores of the Arabian Gulf, the emirate has three regions on the scenic east coast at the Gulf of Oman: Dibba Al Hisn, Khor Fakkan and Kalba. 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 Iran and India 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 Mosque 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 University of Sharjah 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.
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