Souq Waqif and Museum of Islamic Arts - Essay Example

27 March Architectural Design Elements of Souq Waqif and Museum of Islamic Arts Introduction In the recent years, the Arab world has undergone major transformations in the building environment, with numerous achievements that have resulted in significant architectural changes in the region. Qatari as a country has witnessed a lot of changes in all spheres, and her capital Doha has seen emergence of buildings of different architectural designs over the years. A surge in urban population in Doha and other demographic changes have significantly impacted on the cultural and architectural patterns. With architectural trends changing fast, the Qatari government moved to preserve some identity by rehabilitating Souq Waqif that has the traditional architectural design elements. The museum of Islamic art is also another such building in Doha that employs traditional architecture, drawing its design from the Mosque of Ahmad ibn Tulun in Cairo. Traditional architecture is recognised today as a fortress of the past. With increased touristic activities, in Doha, Souq Waqif and the Museum of Islamic Art among other buildings serve as tourist destinations because of their artistic structural designs (Brebbia 301). The traditional architectural designs in the Arab world signify their suitability in the local environment that has incorporated the idea of sustainability. The increasing contemporary architectural designs are blending with the traditional designs to reflect the Qataris Islamic identity. Many of the buildings in Qatari are shifting to the traditional architectural patterns and styles that combine both traditionism and modernism. The new buildings are reproducing Qatari’s traditional architectural elements and styles, such as the museum of Islamic art, and old ones such as Souq Waqif that are rebranding to have that traditional outlook. The Museum of Islamic Art The museum sits on an area of approximately 64 acres of an artificial island in the Doha cornice and a walking distance from the famous Souq Waqif. It was constructed in 2008 and opened its doors to the public in the same year. The island was created at the request of Mr. Pei, who was tasked to come up with the architectural design, whose main aim was to make the building stand out such that future buildings would never encroach it (Boussaa 62). The idea of the museum of Islamic art came after a series of tours around the globe studying Islamic architecture. Mr. Pei visited many places from the grand mosque in Cordoba Spain and the great mosque of Damascus where he found that climate and culture are very vital in interpreting Islamic architecture, although none of those evoked what he sought. The real inspiration for the design was the 13th century Sabil of Ahmad Ibn Tulun mosque in Cairo. According to Mr. Pei, the Sabils austerity and simple architecture blended well with the desert sun with its shadows and shades of colour. Therefore, the design would allow the desert light to play with the geometry of the museum of Islamic art (Salama and Wiedmann n.p.). Although the building was built to have an international modern view, most visitors first impression is that it was a museum. The design elements embrace Islamic architecture from various periods of Islamic history. Water canals, a common feature in the Persian Chahar-Bagh garden features in the museum of Islamic art design, in the form of one canal aligned to the axil of the building. It is set in steps with two attached climbing ramps that lead to the main entrance. A water fountain, which is one of the outstanding Islamic architectural elements, has been added to the entry of the museum of Islamic art to give a beautiful scene and a holistic expression, especially to individuals familiar with Islamic architecture. The main dome that is becoming symbolic in Islamic art nowadays in the museum of Islamic art is double-shelled with an exterior cubic shape. From the inside, it uses coffered metal work to create the stainless steel dome that covers the atrium of the museum. Instead of the small openings between units the dome has one opening at the centre but still the same effect of lighting by the small openings is achieved through stainless steel material that reflects light at different angles (Rico and Exell 197). The semi-circular arches of the museum of Islamic art were not decorated in a traditional Islamic way because the design was interjected with modernity. The design elements were carefully chosen to pass the touch of Islamic art and architecture. The flooring of the atrium has decorations in form of a geometrical pattern combining Islamic and modern theme of ornamentation. The decorative concept and the flooring pattern draws inspiration from the Mamluk era. Walls are decorated by the Ablaq method with arches using contrasting coloured stones (Ferwati 56). Souk Waqif The rehabilitation of Souk Waqif is very significant to Qatari as it shows a nation determined to preserve its past. The designer explored the possibility of restoring dilapidated structures of an overused Souk rejuvenating the place through artistic designs that employ modern architectural designs, but having the traditional Islamic architectural features. Souk Waqif, a local market in Doha, played a significant role in the development of the city. The Souk sits behind the Corniche next to Grand Hamed street, where the shore was filled to add the areas where the construction could be done (Radoine 6). The architectural design of the Souk abstracted from the typical designs in the Arabian Peninsula profoundly influenced by the Iranian southern architecture. The walls of the building are formed by a series of bearing incorporated columns having a span of almost a metre. Seashore stones fill the gaps between pillars to create windows, and blind arched plastered latticed panels for aesthetic purposes. The roof of the Souk is flat covered by mangrove poles and wooden bamboo which replaced iron sheets that have been common when settlements were sprouting. The old Souk’s construction techniques were not as advanced as in other Islamic architectural designs. The old buildings had same structural design with a skeleton constituted of a series of pillars in sun baked bricks that supported light beams of dangeel wood. The roofs are traditionally designed with bamboo covering with a clay layer that serves as a stabilizer between ground and upper floors. Most of the techniques are a mixture of imported designs from all over Arabia and Persia (Rico and Exell 197). Although the majority of the structure is made from traditional material, some aspects of modern architecture are applied. In a number of extensions, concrete and cement was used to speed up the construction process. Most professionals criticized the use of concrete, and the Emir intervened to stop its use. He regularly checked the constructions to ensure only traditional materials were used. The areas around the Souk were added with shading areas to create cooled walking spaces without much alteration of the historical image of the place. In some cases, the alleys were covered to guarantee more tolerant pedestrian pathways. Air conditioning systems are located in terraces with fitting that could disturb neither the facades nor the streets. Traditional channels between buildings were constructed as a measure to avoid flooding. Although Souk Waqif’s reconstruction can be seen as a success in restoring heritage and cultural identity, it has not been short of criticism. Architectural professionals may have welcomed the project, but some criticised the idea that the designer was a mere artist and not an educated architect, arguing that there were lessons on lost architectural vocabulary (Ferwati 56). Archaeologists also criticised the restoration method of the Souk, as they could not grasp the revival of heritage to be updated for contemporary purposes. However, the Souk is slowly integrating to the cityscape of Doha. For the people around the Souk, they praise the idea as it provides them with a quality shopping and entertainment hub. It stands out and provides an open sight that is absent in other Gulf cities that feature gigantic skyscrapers. Conclusion Qatari just like many Gulf States is experiencing a surge in urban developments on various scales. The aim of the developments is to be creative and appealing, while maintaining the state of the art of traditional Islamic architecture and sustainability. Souk Waqif and the Museum of Islamic Art are among the projects that have been witnessed in Qatari, both which are designed by blending of traditional architectural designs and modern techniques, like filling a seashore to create an island. Both constructions have shown the ability of architects to design modern structures that employ Islamic architecture through implementation of particular elements from historical and contemporary Islamic themes. The geometric forms as the one used in the museum of Islamic art display both cubism and Islamic architecture along with other features like canals, arches and Mihrab. Traditional architecture therefore is a significant trend for fortifying heritage and for Qatari, its high point is the balance between traditional Islamic architecture and modern contemporary architecture. It neither desirable to erect structures offering only the Islamic facade and do not embody an Islamic approach, nor is it reasonable to produce architecture free of any Islamic art in the region. Therefore, urban planners in the area should encourage engineers and builders to incorporate Islamic architecture designs while using latest building techniques. It is therefore important for engineers and designers to note that Islamic architecture follows strict rules and principles. Works Cited Boussaa, Djamel. Rehabilitation as a Catalyst of Sustaining a Living Heritage: The Case of Souk Waqif in Doha, Qatar. 2014. PDF File. Brebbia, C. A. Sustainable Development and Planning VI. Southampton: Wessex Institute of Technology Press, 2013. Print. Ferwati, M. Salim. The Museum of Islamic Art: Form, Perception, and Environment. 2013. PDF File. Radoine, Hassan. 2010 Onsite Review Report: Souk Waqif Doha, Qatar. 2010. PDF File. Rico, Trinidad and Karen Exell. Cultural Heritage in the Arabian Peninsula: Debates, Discourses and Practices. Surrey: Ashgate Publishing, Ltd., 2014. Print. Salama, Ashraf M. and Florian Wiedmann. Demystifying Doha: On Architecture and Urbanism in an Emerging City. Surrey: Ashgate Publishing, Ltd., 2013. Print. Read More