THE ROLE OF MUSEUM’S ARCHITECTURE IN ISLAMIC COMMUNITY: MUSEUM OF ISLAMIC ART,

Ali A. Alraouf Department Architecture and Urban Planning, College of Engineering, University, Doha, State of Qatar e-mail: [email protected]

Abstract As we are heading through the second decade of the 21st century, architecture of the Islamic communities is still an unresolved dilemma. In this context, the impact of iconic buildings which claim to represent Islam or provide a contemporary approach to is crucial on different levels. Therefore, a year after Museum of Islamic Art (MIA) opening in Doha, Qatar, an evaluative perspective of the institution’s development story needs to be sketched. In this essay I will use MIA, Doha as a springboard for a discussion related to the museums of the 21th century. Then, I will try to exploit the findings of this discussion in the assessment and critical review of the museum itself. The assessment will include the ability of contemporary architecture to credibly represent Islamic cultural identity. This essay will analyze how and why community participation in museums is a significant factor in bridging the gap and improving relationship between the two institutions. The social inclusion leads to trust, understanding, a sense of identity, and creating a museum that is more relevant to the community. This essay also give some suggestions on how to build bridges between museums and communities, to provide an opportunity for the people living in such communities, like Gulf ones, to find out about their own heritage and to help them realize that it is through their active participation in museum activities that heritage is kept alive. Considering Qatar’s thrive into a post-oil paradigm where knowledge economy might be the generative force for development, an examination of how MIA is contributing to Qatar’s new vision becomes so relevant.

Keywords: Qatar, museums, Museum of Islamic Art, knowledge-based urban development, community

Abstrak Di saat kita menuju dekade kedua dari abad ke-21, arsitektur dari masyarakat Islam masih merupakan sebuah dilema yang belum terselesaikan. Dalam konteks ini, dampak dari bangunan-bangunan ikonik yang mengklaim mewakili Islam atau menyediakan pendekatan kontemporer untuk arsitektur Islam sangat penting pada berbagai tingkatan. Oleh karena itu, setahun setelah pembukaan Museum of Islamic Art (MIA) di Doha, Qatar, sebuah perspektif evaluatif dari kisah pengembangan kelembagaan perlu disketsakan. Dalam esai ini, penulis menggunakan MIA, Doha sebagai batu loncatan untuk sebuah diskusi mengenai museum di abad ke-21. Kemudian, penulis juga mencoba untuk menyimpulkan hasil diskusi ini ke dalam penilaian dan review kritis terhadap museum itu sendiri. Penilaian akan mencakup kemampuan arsitektur kontemporer untuk secara kredibel dipercaya mewakili identitas budaya Islam. Tulisan ini akan menganalisis bagaimana dan mengapa partisipasi kelompok masyarakat di dalam museum menjadi faktor yang signifikan dalam menjembatani kesenjangan dan meningkatkan hubungan antara kedua lembaga. Inklusi sosial mengarahkan pada kepercayaan, pemahaman, kepekaan akan identitas, dan menciptakan sebuah museum yang lebih relevan bagi masyarakat. Esai ini juga memberikan beberapa masukan tentang bagaimana menjembatani museum dengan masyarakat, untuk memberikan kesempatan bagi masyarakat yang tinggal di dalam komunitas-komunitas tersebut, seperti masyarakat di daerah Teluk, untuk memahami kekhasan warisan mereka sendiri, serta untuk membantu mereka menyadari bahwa melalui partisipasi aktif mereka di dalam kegiatan-kegiatan museum itu, maka warisan tersebut akan tetap hidup. Mengingat perkembangan Qatar menjadi paradigma pasca-minyak dimana pengetahuan ekonomi mungkin merupakan daya generatif untuk pengembangan, penelitian tentang bagaimana MIA memberikan kontribusi untuk visi baru Qatar menjadi sangat relevan.

Kata kunci: Qatar, pengembangan kota berbasis-pengetahuan, museum, Museum of Islamic Art, masyarakat

Introduction where. Apparently, the governing factor is ques- In recent times, extensive cultural information tioning the nature of the relationship between becomes so available through diversity of digital museums and communities. First, what do museums format. The need for the establishment of new and communities have to offer each other? Second, museums is becoming an argumentative issue with what should be put in place to ensure that virtual art museums and digital art libraries and relationship between museums and communities is galleries available from everyone’s desktop every- entertaining, healthy, and educational? Third, how

606060 ||| Journal of Islamic Architecture Volume 1 Issue 2 December 2010 the museum becomes an integral part of community Contemporary Muslim Community: A Defining life representing its values and identity? These are Moment some of the fundamental questions that researchers “Traditional Islamic civilization is marked by its were trying to answer as an attempt to articulate emphasize upon beauty being wedded to every aspect the relation between museums and communities. of human life, from the chanting of the Quran to the Most Museums in the world have been transformed making of pots and pans. The traditional Islamic ambience, both the plastic and the sonoral, have and taken communities as partners in their always been beautiful, for traditional Islam sees 1 programmes and activities . This new approach has beauty as a complement of the Truth.”5 created a favorable working condition between In a world where the beauty of Islam is museums and communities as museums are about shadowed by fear, the art speaks to the truth of this people and created by the people themselves. great way of life. Contemporary Muslim commu- Qatar’s plan for a world-class set of cultural nities, regionally and around the globe, are facing a facilities has made an impressive start with I.M. Pei’s defining moment. The post 9/11 incident as agreed Museum of Islamic Art (MIA) in Doha. MIA opened its upon by different researchers established a new door to visitors in December 2008. The design of the milestone in the contemporary history of Muslim museum went through a long path. Aka Khan Trust communities6. Crucial questions related to identity, for Culture (AKTC) organized an international image, misconception, and misjudgment of Islam as architectural competition in 1997. While getting a religion and Muslims as part of the human commu- contestants from all over the world, the jury nity flourished in political, religious, economical, selected eight projects for a second and final phase and cultural literature. Subsequently, it is becoming including signature architects like Richard Rogers, so clear that a comprehensive understanding about Zaha Hadid, Charles Correa and the most prominent how these communities are constructing their Arab architect Rasem Badran2. The last two; Correa current identity is essentially needed. Muslim and Badran were selected by the jury as finalists to communities are continually balancing the essence conduct a final rival between the two of them. A of their faith with the diversity of geography, tendency towards Badran’s project to be the one to politics, cultures, and economies. By focusing on build was rising especially from the client’s point of constructing a reality or identity which convey the view. beauty of this colorful mosaic, Muslims can not only Without clear justification, the whole process control their current reality but also help non- of the competition came to a dramatic end by the Muslims or rather the Western world to achieve client’s decision to pass the project to the Chinese- better understanding of, and communication with American signature architect I.M. Pei3. The project Muslims individually and collectively. was redesigned from scratch by this world-renowned While there is plenty of literature on Islamic art architect, famous for designing the Louvre extension regarding the tools that Muslims used, the colors, in Paris. He is also the designer of many other and shapes, but little on what actually motivated signature buildings around the world. In 2000, he those who designed the great Mosques in different embarked on a journey across the Muslim world in parts of the world, who composed works of search of the spirit and essence of Islamic architec- literature and works of art7. Nasr analyzed different ture. MIA reflects that essence as interpreted by a themes of traditional art, architecture, calligraphy, great contemporary architect, and provides a poetry, prose literature, etc, as it developed in spectacular home for the Museum, as well as Islamic lands8. He provided a crucial explanation architectural landmark for Doha city. based on interpreting every art form as a sacred act The MIA, Doha accommodates a fascinating contributing to the overall spirituality of the collection in terms of quality, historical importance individual and the community. He reveals how each and aesthetics. A range of artifacts collected from art form in the Islamic tradition is based upon a three continents (Africa-Asia, Europe) to draw a science of nature concerned, not with the outer holistic portrait of Islamic art and creativity. The appearance of things, but with their inner reality. collection includes Qur’an early handmade pages, Ranging across calligraphy, painting, architecture, illustrated manuscripts, carpets, textiles, scientific literature, music, and the plastic arts, Nasr apparatus, woodwork, enameled glass, and silver penetrates to the inner dimension of Islam and metalwork4. The geographical origins of the shows the role art plays in the life of individual museum’s collection are stretched all the way from Muslims and the community as a whole -the role of Spain to India and Central Asia while its time frame inspiring the remembrance and contemplation of (from the 7th–19th century) is covering up a whole God. Once Nasr establishes art as an aid and support millennium providing a profound insight into the to the spiritual life, he traces the creative act to its cultural heritage of the Islamic world. ultimate source: inner knowledge and barakah, or

Journal of Islamic Architecture Volume 1 Issue 2 December 2010 ||| 616161 grace, which makes the crystallization of inner regional architects and planners insist on the realities in form and space and time possible. uniqueness of their region’s legacy and heritage. Through this knowledge and grace, the author Affected by Frampton, critical regionalism ideas, asserts, unity manifests upon the plane of multi- architects like Abdel Halim Ibrahim, Rasem Badran, plicity, making archetypal realities perceivable by Riffat Jadergi, Ali Alshuaibi were capable to provide the senses. Through this knowledge and grace, art alternative architecture and urban solutions for the functions as a ladder for the journey of the soul from regional built environment of Islamic communities the visible to the invisible. where Islamic architecture was not copied from Architecture and urbanism, as numerous historical references12. Alternatively, they perceive researchers have suggested, used to be the physical Islamic architecture as a source for inspiration by representation of Muslim communities’ abilities, comprehending its concepts and governing princip- creativity, and positive contributions in mankind les. More importantly, they have initiated a creative development9. I would argue in this essay that better dialogue between Islamic architecture and other contemporary architecture and urbanism within the schools of contemporary architecture like post- boundaries of Muslim communities can rejuvenate modernism, industrialism and even deconstruc- this role. MIA, Doha will be analyzed as a case study tionism. Their attempts have resulted in number of where it will be argued that it is a very profound well praised project regionally and even interna- attempt to achieve such an important goal. tionally. The third paradigm, which is more of a concern for this essay, is where Islamic architecture was Architecture and Muslim Communities’ perceived as set of principles, concepts and intellec- Identity tual notions. This mature and deep understanding Architecture -or more broadly, the built paved the way for new architectural manifestations environment- and its interface with faith has always which are definitely inspired by Islamic architecture, been a most interesting point of attention. As Ozkan yet they incorporate the rhythm and the pulse of our has argued, faiths as ways of life and social memory contemporary time. The importance of Museum of have had considerable influence on, among -other Islamic Art, Doha, as the essay would illustrate, is in things- the shaping of the built environment. This its ability to be a worth analysis example of this relationship is seldom explored10. One of the reasons critical paradigm in using architecture to represent for this lack of exploration during the last hundred Muslim communities current realities and identities. years is basically the spread of modernity as the most effective practical ideology. Modernity, being implicitly secular, does not encourage in our socie- New Museums for a New Millennium ties the exploration of the relationship of faith to Today, most of the museums have shifted their other phenomena, such as buildings and architec- focus and policies in order to bridge the gap bet- ture. ween the museums and local communities. Graham, Meanwhile, it was well argued that Islamic have suggested that new demands are placed on architecture especially in traditional settlements can twenty first century museum. He draws a comparison be a credible representation of Islamic communities’ between “traditional” and “new” museum audiences identity11. I would argue that architecture as a stressing the challenges of avoiding social exclu- medium through which Islamic identity, within The sion13. By looking at the development of museum Middle East, can be represented moved across three content, special groups like children, women, and main paradigms during the last three decades. In families with young children can be engaged. During mid of 20th century, the waves of modernism began the past two decades, museums of all kinds have to reach the shore of Islamic world and affect its tried to become more responsive to the interests of built environment. After the fall of modernism, post a diverse public by shifting from the presentation of modern architects in the Middle Eastern cities resort real things to the production of experiences as Hein to historical Islamic architectural styles to compose rightly argued14. Anderson established an overall an alternative language for architecture and argument which reflects the unfolding thinking on urbanism. This paradigm was manifested in a naive what it means to be a museum in today’s world. usage of historical elements usually assembled to- Most of the contemporary perspectives as he argues gether in an artificial synthesis of forms and facades. suggest the importance of the community and In the late eighties and early nineties, a intensifying the role of the public15. Alexander considerable number of Middle Eastern cities articulated the transformations in museums defini- including Gulf cities moved swiftly into a more tion16. While it may appear very simple question, she westernized architecture to declare its thrive asked what a museum is. She has illustrated the towards gaining international identity. Despite the transformation from the historical notion of a mu- accelerating pressure, a limited group of leading seum is a building to protect and display valuable

626262 ||| Journal of Islamic Architecture Volume 1 Issue 2 December 2010 items to a museum as an educatator. To relate her ar - interests, customs, and beliefs.be A museum commu- gument with my essay, I would hhighlight her perspec - nity consists of people who wh visit the museum, live tive on art museums. Her oppososition to art museum and work in its vicinity, area stakeholders to it, or differs from science and historory museums in that have donated or havee collections within the their collections exist to allowlow their viewers to museum. Engagement is theth level of involvement in experience beauty rather than to convey information museum activities in thee areasa of ideas, publicity, is so relevant to my argument.. TThe shift occurs with communications and exhibiibitions. MIA’s management emphasize on art in everydayday activities of the perception, of creating a bondb between the Museum community, to make different sosocia l groups proud of and the city dwellers and an visitors, has emerged their culture and their products.ts. In short, define the primarily from the notionsns of education and know- museum as an instrument foror community better - ledge. Inviting students fromrom schools and universities ment17. in addition to local commumunity members to attend With Museums becomining more people - continuous shows, publicc lectures,l seminars, work- centered, idea-oriented, and contextualized, the shops and exhibitions constnstructs the pillar of such a boundaries between museums a and the “real” world bond. are becoming eroded. Settingg the transition from Minor yet very importartant info rmation about MIA object-centered to story-centertered exhibitions in a is that Qatar Museums Auththority (QMA) have decided philosophical framework, Heinn ccontends that glori - to keep the entrance to the museum to all local and fying the museum experience at the expense of the expatriates from differentnt gender and age groups objects deflects the Museum’s’s educative, ethical totally free (Figure 1). ThisTh decision has helped in and aesthetic roles18. But thehe difficult issue has strengthening the bond betweenbe the museum and always been how to effectivelyly involve the commu - the community. Getting intoint the museum is achieved nity and maintain the relationshnship . In the following through two different scenariossc for pedestrians. section, I would elaborate on MIMIA, Doha narrative in Either from the main gateate located directly of the engaging the community. I willill examine how archi - city’s promenade. From thehe gate, visitors will ascend tecture, urbanism and managemement of the museum gradually the link leadingng to the main plaza and are working together to achievee tthis goal. them the museum’s main entrance.en The other scena- rio for entry is via the comommunity park adjacent to the museum which openss upu towards the two sides MIA Celebrating Islamic Cultulture: of the museum’s urban conontext; the city and the bay Critical Thoughts (Figure 2). The two scecenarios have successfully In constructing my criticalal thoughts and reflec - intensified the pedestrianan experience. More pro- tions for the project, I want to emphasize on three foundly, they diffuse anyy physical or non physical main aspects. Firstly, the museuseum and its role in boundaries between, thee building,b the community, disseminating culture, then thehe museum as part of and the city. Doha’s new urbanism. Finally,, tthe Museum’s archi - tecture will be analyzed to invevestigate its ability to act as a representation and critiitical interpretation of Islamic art, creativity and diversersified culture. In the following sections, I would argugue that the museum created a positive relation withith Doha city and its community. This positive impapact can be seen on different levels as follows:

1. Museum and community invovolvement

Contemporary museums sstarted recently to adopt a new approach in coconsidering its social responsibility. This new approroach has created a favorable working condition betetween museums and communities as museums arere about people and created by the people themselvelves. Most museums in the world have been transformrmed and considered communities as partners in thetheir programmes and activities.

A community can be best ddefined as a group of people living within the samee geographical area, Figure 1. MIA main entrancence following the palm trees sharing certain characteristicss aand common values, passage connecting thee museumm with Doha city

Journal of Islamic Architecture Volume 1 Issussue 2 December 2010 ||| 636363

shops all of which geared towardsds enhancing cultural life and raising local community’sy’s awareness of art and cultural issues.

Figure 2. Looking towards the city’s urbananism from the main entrance

2. The MIA Cultural and Educational RRoles Figure 3. Western Facade createss a back ground for a city balcony characterized by dancicing water fountains Qatar Museums Authority (Q(QMA) which constructs the umbrella underneath MMIA and other 19 museums are covered has its own ccultural deve- lopment strategy for Qatar. First, QMAA is so interes - ted in incorporating all museums of Qatatar within the overall cultural vision of the coununtry. Hence, constructing museums would substantantiate Qatar’s vision for Doha as an emerging knowledledge city amid other Gulf Cities. Second, QMA is plannnning to have a partnership with educational institutiutions; locally, regionally and internationally, to eenhance the cultural capabilities of children and yyouth. One of the main pillars of QMA vision is the crecreation of new Figure 4. The education centerr connectedc to the learning experiences20. Museums canan be directly museum via the fountain courtyaryard and colonnade connected to lifelong process of learnarning. In addi - tion, museums can support structuredd or institutio - MIA education center managaged to organize an nal education in schools by focusingng on creating introductory conference wherere the concept of positive experiences for students. Hencnce, enjoyment education within the museum waswa introduced. The and positive memories cherished shouldld come first as conference title “Partnership in ArtsA education: The Graham rightly argued21. Museum, the School and Thehe community” is In the occasion of hosting Globabal Art Forum suggesting a positive understananding of the new (GAF) at MIA premises, Abdulla Al NaNajjar, CEO of museums role in not only enhancincing cultural life but 23 Qatar Museum Authority told his audiencence that: creating a strong bond between mainm stakeholders . Driven by such initiative, MIA invnvested substantially “The Global Art Forum is the leadinging platform for in building bridges with commununity members from cultural debate and discussion in the Middle Eas t different age and gender and sociacial categories. More focusing on key issues that bring togtogether the art scenes of this region with the rest of ththe world. Qatar importantly, children were seenn as the main focus Museums Authority has keenly hostedd tthe Global Art when it comes to issues related to raising awareness Forum at the Museum of Islamic Art ass it closely ties in about art and culture. The typypical gap between with our vision as a vehicle for sharinring culture and school and museum where the later was only heritage through education andnd community interaction.”22 perceived as one of the typicaical destinations for school trips needs to be bridged.. That was precisely The Museum’s education programms are housed one of the MIA initiatives well declaredd intentions in a wing to the east of the MIA main bbuilding across and goals. a fountain courtyard (Figure 3). The EdEducation Wing includes the Museum library, classroomms, workshops, 3. The Architectural and Visuall Impact:I MIA as an study spaces, and technical and storaorage facilities. Icon The MIA education center opened ffor public in “I believe I found what I was lookioking for in the Mosque October 2009 (Figure 4). It was establislished as a core of Ahmad Ibn Tulun in (876(-879). The small component of the museum since thee stress on the ablutions fountain surrounded by double arcades on educational role was highly emphasizsized from the three sides, a slightly laterer addition to the early stages of design. The center is proproviding varie - architecture, is an almost Cubist Cu expression of ty of activities, public lectures, interteractive work - geometric progression from the octagonoc to the square

646464 ||| Journal of Islamic Architecture Volumolume 1 Issue 2 December 2010 and the square to the circle. ThThis severe architecture “I think geometry is theth fundamental element of comes to life in the sun, withh iits shadows and shades architecture, it doesn’tt matter is it is Islamic or of color (Figure 5).” 24 Renaissance. Geometry is the framework. But if the geometry is obvious, thenn I’veI failed”. 25

Figure 5. The Court, the Fountainin and the Arcade used by Pei to articulate the connectiotion b etween MIA and education cententer Figure 7. Geometrical compoposition of the MIA main mass

Inspired by the magical geoeometry of Ahmad Ibn Visually, the museumm is located on a reclaimed Tulun Mosque in the heart off Is Islamic Cairo (Figure island right in front of the city’s main promenade 6), the museum is a contemporarary representation of “Al Corniche”. By beingg sensitive to the project generative architecture produduced from applying context, architect I. M. PeiP was able to create a three dimensional geometricall ccomplexities (Figure landmark which is literallylly visible from all around 7). The overall masses compositiition of the Museum is Doha bay. At Pei’s insistencence, the museum has been articulated of two cream-colorlored limestone buil - built on an artificial islanland in Doha’s broad bay, dings, a five-story main buildinding , and a two-story linked to the mainland byy a causeway (Figure 8). He education wing, connected acrocros s a central court- was concerned to ensuree that the museum should yard. Internally, the spatial cocomposition is articu - never be overwhelmed byy thet skyscrapers leaping up lated around a main central spspace covered with a all over Doha, which is inn the process of converting monumental dome and skylight.t. A geometric matrix itself from a Gulf versiosion of Nice into a mini- transforms the dome’s descecent from circle to Manhattan by the sea as argued.arg octagon, to square, and finallylly to four tri angular "I didn't choose the locationion, I made it. I found it very flaps, which angle back at ddifferent heights to tempting to do this!”26 become the atrium’s columns.. DDespite the building's size and purpose, the architectucture seems positively modest. Humbleness and modedesty are underlying values of Islamic architecture and urbanism.

Figure 8. MIA, Doha is locacated on an artificial island projected from Doha’s promeenade to create a new visual

landmdmark

Pei observes the uniquique morphology of the city

waterfront and articulatedd the museum in a position

which would engage city dwellersd and visitors in an

interesting visual dialogueue with museum masses. More importantly, the museum mu architect has also created a visual link withh the city from within the museum. The internal spatatial composition on diffe- Figure 6. M. Pei was inspired byy tthe architecture and rent levels is providing intenteresting glimpses towards geometrical poetics of Ibnn TTulun Mosque the city’s new developmentnt and vivid skyline. On the

Journal of Islamic Architecture Volume 1 Issussue 2 December 2010 ||| 656565 north side of the Museum a 45 meter tall glass museum was envisioned as an icon for a whole curtain wall, the only major window, offers nation rather than for a city or a single country. panoramic views of the Gulf and West Bay area of Doha from all five floors of the atrium. In addition, a 5. MIA as a Branding Catalyst for Contemporary series of outdoor spaces and terraces where Doha introduced to play the role of city balconies for The vision of His Highness the Emir of Qatar, museum visitors or even for pedestrian penetrating Sheikh Hamad bin Khalifa Al Thani, is to mold the the garden spaces and strolling around the main State of Qatar into a capital of culture. The royal masses. The architecture and outdoor spaces resul- family’s plan is to make Doha a cultural bridge ted in framing a series of city views. An approach in between the Middle East and the rest of the world. architecture and urban design which helped Pei All this activity is testament to the fact that Qatar’s succesfully in stimulating visual and then intellectual enormous oil and natural gas reserves have provided dialogues between past, present and future in it with the highest per capita income of any country people’s minds. in the world. It is also a mark of the cultural changes Water is one of the museum’s key features. The that the Amir Hamad bin Khalifa Al-Thani has fact that water is all around it was not enough for brought about since he took the responsibility in Pei who was well informed after his long journey 1995. Central to the Amir’s vision is the recognition learning from Islamic architecture monuments that, as plentiful as Qatar’s natural resources may around the world that the presence of water be, their value will one day be significantly especially inside mosques and houses is almost a diminished by the emergence of sustainable forms of scared act. Hence, Pei made the best out of it with energy production29. The country is therefore tapestry of internal and external fountains adding seeking to diversify its economy and, to that end, is positively to the sensual experience of the museum. investing vast sums in the development of its human capital. The creation of a world-class set of cultural 4. MIA, Doha as an Identity Manifestation facilities is a key element of this strategy, and The issue of identity is of a double-faced nature includes the hugely ambitious plan to build 10 when it comes to analyzing a cultural facility in an completely new museums. Arabic and Islamic context. First aspect is to which As explained earlier, under the umbrella of degree the project is in harmony with the overall Qatar Museums Authority, MIA is the leading project identity the country is seeking for. MIA, Doha served of His Highness’s vision. As stated in the vision, The perfectly the purpose of Doha’s new identity27. Museum of Islamic Art, Qatar, is a museum for the Qatar did a radical transformation to go beyond the world. It will bring the world to Doha, but it will also typical image of a Gulf city relaying on presumably connect Doha to the world. MIA is dedicated to being endless assets of oil and gas. A move towards being a the foremost museum of Islamic art in the world, regional center for education, knowledge and and as well a centre of education and information in culture is the new aspired sense of identity for the field of the arts of the Islamic world. Through Qatar. A major investment in knowledge-based the vision of its leadership and the dedication of its urban development characterizes major projects in staff, the Museum of Islamic Art will manifest this the country during the last five years28. All of these commitment by establishing, preserving, and efforts resulted in selecting Doha as a capital for documenting a collection that reflects the vitality, Arab culture in 2010. the complexity, and the diversity of the arts of the The second aspect of representing the Islamic world. country’s identity and may be the most critical one The well known phenomena called “Bilbao is the Arab and Muslim nature of the community. In Effect” have created a new benchmark for cultural most of the examples around Arab and Gulf cities, facilities’ impact on cities. The Museum of art at architecture was naively used to express artificially Bilbao, Spain designed by architect Frank Gehry was the Islamic identity. By focusing on reusing limited envisioned by Bilbao city officials as their only vocabulary form historical Islamic styles, salvation after years of economic crisis. An architecture was not successful in this critical assumption which was proven to be right after the representation. In the case of MIA, Pei succeeds in new museum helped the city to regain its vitality resolving the main dilemma of Middle Eastern cities’ and became one of the top destinations for tourists architecture and urbanism. He created an interesting visiting Spain. balance between Doha’s contemporary aspirations Qatar vision 2030 is suggesting four pillars for a without neglecting the value of its contextual more developed and prosperous Qatar. Human and heritage that the city has acquired due to belonging Cultural development is a core element in this to Arab and Islamic world. One more virtue about vision. A reasonable justification for a tedious effort Pei’s approach in designing MIA, is his ability to to promote Qatar and Doha as an emerging center escape from focusing on Doha’s heritage since the for culture and knowledge. Cultural facilities are

666666 ||| Journal of Islamic Architecture Volume 1 Issue 2 December 2010 proved to be a viable tool by which cities can be One more concern is related to the ways by marketed. It can also be seen as a catalyst for which the MIA collection is exhibited and displayed. development and progress transforming cities from The development of interactive displays has side to side and from rank to rank on progress scale. transformed the traditional museum world in the last Recent statistics published by Qatar museum decade. More importantly, Visitors are no longer authority have showed that MIA, Doha was visited by satisfied by simply gazing at worthy displays in glass more than 300.000 visitors on its very first year. cases; they expect to have hands-on experience of Speaking of people visiting cultural facilities in Gulf the objects and be actively involved with the countries, this number is considered extraordinary. exhibits as a form of entertainment as Caulton has The accelerated recognition of MIA is substantiated rightly argued30. Create and operate the effective by hosting international events throughout the first exhibitions which achieve their educational year after its inauguration. The objective of MIA objectives through hands-on access while hosting these cultural events is to educate the encouraging a broader visitor base. community and bridge the gap between popular and elitist culture. The first Doha Tribeca film festival (DTFF), one of the most prominent cultural events in Conclusion the Middle East was among these events which have I shall conclude by affirming that architecture used the fascinating setting of the Museum to and urbanism of contemporary Muslim communities intensify the drama of its opening. A magnificent should seek to express and represent the spirit, ceremony was held and attended by over 4000 values, creativity, underlying principles, and sacred- people enjoying MIA acting as DTFF major venue. ness of Islam. Copying or reshuffling old architec- tural vocabularies from past eras is not only antithe- 6. MIA Spectacle: Exhibiting vs. Freezing Culture sis to Islamic notions of the duty of innovations and The thorny issue has always been how to creativity but also it does contribute passively to effectively exhibit Islamic art and heritage without already shattered image of Muslims across the world. establishing a negative notion regarding the lack of Today, Muslims not like any time before in their contemporary creative contributions from Muslim history, need to vigorously emphasize that their communities or artists. A common thread which I presence on earth is a sacred mission characterized found manifested clearly in different Museums of by a compelling desire, faith and commitment Islamic arts including MIA, Doha is freezing a towards enhancing mankind. Contemporary Muslims continuous cultural and transforming it into a need to use art, architecture and creativity to regain spectacle for contemporary viewers. No one can their shattered image as positive members in the question the contribution of Muslim artists and global development. While, due to contemporary scientists in the development of humanity. Evidences obstacles, a tremendous effort is needed to change are suggesting that their creations, inventions and such an image, investing in culture and knowledge intellectual thoughts have been a continuous source making would be of a major help. of inspiration and paved the way in different fields MIA has a mission to explain Islamic art and for the western civilization to be inspired with and culture to the world. In so doing, it is stating a learn from. profound example on how cultural facilities, espe- I would argue that art is a valuable tool in cially in the Middle East, redraw or better remove comprehending different communities cultures, it the boundaries between people and places. The will be totally unfair to see a repeated pattern in all Museum is not only contributing in sustaining local Islamic museums which is to focus on the value and and ideological identity of Qatar, but more critically the outcome of Islamic art from a historical it contributes positively to the country’s strategic perspective assuming that the present time does not aspiration to transform Doha into a knowledge city. exist when it comes to the contribution of Muslim A quest for identity, in the contemporary moment, artists. Most of museums of Islamic art regionally and implies twofold pursuits. First, it would speak to the internationally were not able to include the current locality and relate to the community heritage and paradigm as a logical continuation of Muslims roots. The second should respect the global aspira- contribution to art and creativity. By focusing only tions and each city’s compelling desire to accommo- on historical aspects, the image of Muslims as non date a place on the global stage and to brand itself contributors to the current human endeavor deve- as a global city attracting tourists, workers and lopment is highly intensified. What is the contribu- global citizens. tion of contemporary Muslim artists and how this Knowledge-based urban development should be contribution can be exhibited and in MIA is a funda- perceived by Gulf cities as the most appropriate mental question which I doubt, due to my critical answer for their quest to overpass the oil economy assessment of existing Islamic museums, if there era and moving vigorously towards post-oil one. A were any serious attempts to confront it. large part of the motivation behind the project is

Journal of Islamic Architecture Volume 1 Issue 2 December 2010 ||| 676767 clearly the desire to establish Qatar as both a tourist modern life created a uniform but a less perso- destination and as an ideal place where knowledge nally & socially meaningful built environment. workers might be prepared to relocate. Hence, the Süha Özkan. 1996. “Faith, Culture and Archi- Museum of Islamic Art gave every indication that it tecture”. In Faith and the Built Environment: was on the right track. Architecture and Behavior in Islamic Cultures. Vol. 11, no 3-4, p. 181–186.

11 Ismail Serageldin. 1989. Space for Freedom.

London: Butterworth Architecture Notes and References 12 Kenneth Frampton. 1980. Modern Architecture: 1 Jacob Nyangila. 2006. Museums and Community A Critical History. Oxford: OUP Involvement. Intercom Conference 13 Graham Black. 2005. The Engaging Museum: 2 Rasem Badran is a Jordanian architect and he is Developing Museums for Visitor Involvement. famous as believer in theory and practice in the London: Routledge value of Islamic heritage. He is the recipient of 14 Hilde S. Hein. 2000. The Museum in Transition: the prestigious award; Aka Khan Award for A Philosophical Perspective. Washington: Islamic Architecture. Smithsonian Institution Press 3 One of the convincing interpretations of such a 15 Gail Anderson. 2004. Reinventing the Museum, decision is due to Qatar’s desire to transform Historical and Contemporary Perspectives on Doha, the capital into a global city. While the Paradigm Shift. Maryland: AltaMira Press Badran is with no doubt an expert in the use of 16 Mary Alexander & E Alexander. 2008. Museums Islamic architectural heritage, Pei was a more in Motions: An Introduction to the History and appropriate choice for globalizing Doha by Functions of Museum. 2nd edition. Maryland: putting his signature architecture in one of its AltaMira Press prominent locations. 17 Mary Alexander & E Alexander. 2008. Museums 4 It has all been newly assembled, in large part in Motions: An Introduction to the History and by the Amir’s cousin, Sheik Saud Al-Thani, who Functions of Museum. 2nd edition. Maryland: between 1997 and 2005 was the world’s highest AltaMira Press. p. 42 spending art collector. His shopping spree was 18 Hilde S. Hein. 2000. The Museum in Transition: eventually brought to a halt when he was A Philosophical Perspective. Washington: placed under house arrest, accused of mis- Smithsonian Institution Press appropriating funds. He was subsequently par- 19 Marking the next stage of its program to doned but played no part in the new museum’s develop Qatar into a hub of culture and opening celebrations (Woodman, 2008). communications for the Gulf region and the 5 Sayyed Hossein Nasr. 1990. Traditional Islam in world, the Qatar Museums Authority (QMA) the Modern World. London: Routledge. p. 20 revealed its plans for the new National Museum 6 Jeffrey Melnick. 2009. 9/11 Culture. New of Qatar, as expressed in a striking and evoca- Jersey: Wiley – Blackwell tive design by Pritzker Prize-winning architect Susan Faludi. 2007. The Terror Dream: Fear Jean Nouvel. and Fantasy in Post-9/11 America. New York: 20 www.qma.com.qa accessed on March 14, 2010 Metropolitan Books 21 Graham Black. 2005. The Engaging Museum: Noam Chomsky & David Barsamian. 2005. Developing Museums for Visitor Involvement. Imperial Ambition: Conversation of the Post- London: Routledge 9/11 World. New York: Metropolitan Books 22 www.qma.com.qa accessed on March 25, 2010 7 Oleg Grabar & Richard Ettinghausen. 1988. The 23 Museum of Islamic Art, http://www.mia.org.qa Art and Architecture of Islam: 650-1250. New accessed March 3, 2010 York: Viking Press 24 MIA Doha by I.M. Pei, www.arcspace.com Barbara Brend. 1992. Islamic Art. Harvard: accessed on March 1, 2010 Harvard University Press 25 See Jay Merrick review in The Independent. 25 Robert Hillenbrand. 1998. Islamic Art and Nov. 2008 Architecture. London: Thames & Hudson 26 See Jay Merrick review in The Independent. 25 8 Sayyed Hossein Nasr. 1987. Islamic Art and Nov. 2008 Spirituality. New York: SUNY Press 27 Qatar’s vision to substantiate its position as 9 S. Al-Hahtlul. 1981. Tradition, Continuity, and knowledge and cultural center in the post oil Change in the Physical Environment: The Arab- paradigm was also a vehicle to create a diffe- Muslim City. PhD Dissertation. MIT rent identity for the country’s develop-ment Besim S. Hakim. 1988. Arabic Islamic Cities: strategy which will distinguish Qatar from other Building and Planning Principles. 2nd Edition. Gulf States. Building museums, universities and London: Kegan Paul International knowledge centers highlighted this approach. 10 See Özkan, where he argued that in the Yet, because of the strong and sometimes harsh intellectual climate of the late 1960’s, moder- competition between Gulf cities, Abu Dhabi nity was challenged as an unquestionable single challenged Qatar by the announcement of de- ideology because it failed to bring promised veloping Sadiyyat Island as host for four mega solutions to modern life and living. The rapid museums designed by four of the top signature spread of the amenities and conveniences of architects of our contemporary time.

686868 ||| Journal of Islamic Architecture Volume 1 Issue 2 December 2010 28 Ali A. Alraouf. 2008. “Emerging Middle Eastern 29 Ellis Woodman. I.M. Pei’s MIA opens in Doha, Knowledge Cities: The Unfolding Story” in Tan Review.http://www.bdonline.co.uk/story.asp? Yigitcaular & V. Koray (eds.). Knowledge Based storycode=3129204 accessed on 28 Maret 2010 Urban Development: Planning and Application 30 Caulton, Tim. 1998. Hands-on Exhibitions: in the Information Era. USA: IGI Global Managing Interactive Museums and Science Publishing Centers. London: Routledge

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