Archive for September 15th, 2010

September 15, 2010

Inspired by the natural elements of the UAE, Perkins + Will explain the reasons behind three forward thinking sustainable designs

Perkins + Will are continuing their crusade into the realms of sustainable design, presenting three unique new projects in the United Arab Emirates that incorporate a range of powerfully effective methods of climatically adaptive design.

First up is Dubai International Finance Center – a 60-storey mixed use facility featuring office space, restaurants, residential and hotel accommodation. Symbolic references run through the pleasing external aesthetics, as two expressive facades relate directly to the two key constituents of Dubai’s natural landscape. A faceted, perforated metal sunscreen evokes the undulating form of sand dunes whilst a horizontally layered lattice punctuated by turquoise glass fins recalls the expanse and glimmer of the nearby ocean.

The Al-Birr Foundation Headquarters in Riyadh, Saudi Arabia takes its inspiration from three traditional elements of Islamic culture – the spiral minaret, the walled garden and the mashrabiya. A classical rectangular structure, the Al-Birr Foundation Headquarters immediately projects a formal air, towering above the largely low-rise surrounding urban landscape at 28 storeys high. Within this calibrated skin is a ‘spiraling garden’; a series of open terraces and suspended courtyard gardens saturate this internal space, the concentration on traditional elements an attempt to reflect the established values of the Al-Birr Foundation ‘to protect, replenish, and care for needy children and families’. The permeable façade is calibrated via a series of mapping exercises to create varying levels of openness based on solar exposure and spatial and contextual influences.

Last but by no means least is the Kempinski Hotel and Residence Tower in Jeddah, Saudi Arabia, recently renamed the Assila Tower. Similar to the previous two projects, the Assila Tower is unremarkably simple at first sight, yet its discreet exterior masks a subtle experiment in program, site and climate. Marking the shift from the desert landscape to the Red Sea, the basic form plays on texture and light to integrate with its natural surroundings. The structure’s 60,000 sq m is an amalgamation of luxury hotel rooms, serviced apartments and condominiums, completed with below grade parking capable of accommodating 600 cars. Sweeping balconies caress the building’s external form, swelling in size nearer the top, creating spaces which may almost be classified as outdoor rooms in their own right.

To find out the whys and wherefores of Perkins + Will’s current projects in the UAE, WAN quizzed Robert Goodwin – Design Principal of Perkins + Will in New York – about the design decisions that go into such sustainably focussed building proposals.

Sian Disson
News Editor

Al-Birr Foundation Headquarters
Al-Birr Foundation Headquarters
Dubai Tower
Dubai Tower
Assila Tower
Assila Tower

September 15, 2010

Al-Birr Foundation Office Tower, Riyadh by Perkins+Will

Al-Birr Foundation headquarters and office building. An intriciate and symbolic yet practical approach to an office tower that responds to a harsh environmental climate.

For the Al-Birr Foundation’s new headquarters, Perkins+Will reinterpreted the typology of an urban tower in the spirit of Le Corbusier’s explorations of the brise-soleil, calibrated to the extreme solar exposure and heat conditions of the microclimate of Riyadh. The design employs innovation in elevation and section, rather than plan, as the generator for functional solutions as well as symbolic analogies to Saudi historical precedents—the minaret, the garden, and the mashrabiya—all emblematic of the Foundation’s altruistic mission to protect, replenish, and speak for needy children and families.

Simple orthogonal floor plates ranging from 1000-1200 square meters simplify leasability, office partitioning, and construction methodology, while the dynamic section provides temperate microclimatic terraces, stack effect cooling, and a continuous hanging garden from entry plaza to the rooftop terrace.

The tower’s intricate enclosure is formed of lightweight glass-impregnated photocatalytic precast concrete supplemented with fly-ash. Beyond structurally supporting the tower, it controls solar and heat gain, preserves dramatic views to the city, and operates as a light shelf diffusing system. Calibrated to the changing sun angles, the perforated northern elevation allows for views and cooling breezes and transitions to primarily opaque at the southern elevation. Illuminated internally at night, the enclosure’s apertures result in a scintillating pattern of light; a literal inversion of the solar-regulating function of the tower enclosure during the day.

Area: 590,000sqft

Al-Birr Foundation Office Tower Award
AIA New York State, 2007 : Design Award of Merit

Al-Birr Foundation Tower Riyadh images / text from Perkins+Will 150908

September 15, 2010

Prof. Bernhard Winking

Bernhard Winking first graduated from the University of Munster in Structural Engineering after completing a mason’s apprenticeship. He worked in the Office of Professor Gerhard Graubner in Aachen and Hannover for the period of 3 years, followed by his studies in Architecture at Hochschule für Bildende Künste in Hamburg, where Godber Nissen and Werner Hebebrand should become his mentors. Already in 1965 he established the Architectural Partnership Patschan Winking (in 1968 Patschan Werner Winking), becoming part of the academical (teaching) staff at the Hochschule für Bildende Künste in Hamburg in the same year. After a substitute Professorship for Godber Nissen he was appointed Professor for Structural Development in 1978. During the years of 1972 and 1988 Bernhard Winking was member of the Board of the Bund Deutscher Architekten BDA in Hamburg. His appointment to the Deutsche Akademie für Städtebau und Landesplanung followed in 1982. The foundation of the Office of Professor Bernhard Winking Architekten BDA took place in 1993, now located in Hamburg and Berlin. He established his Partnership with Martin Froh in 1997. Due to his long working experience in China, Bernhard Winking was called to the Zhejiang University in Hangzhou as a Visiting Professor in 2008. Far more than 100 realized Projects, internationally and German, many awards and prizes as well as his work as a competition judge make Bernhard Winking to one of the leading Architects in Germany.

and his partner Martin Froh

Martin Froh, Partner in the Office of Professor Bernhard Winking Architekten BDA, completed his studies in Architecture at the Hochschule für Bildende Künste in Hamburg. Already while being a student he worked for serveral renowned Architect’s Offices in Hamburg. After joining the Office of Patschan Winking he founded their Berlin Office in 1993. A few years later, in 1997, Bernhard Winking and Martin Froh established their Partnership. He is a registered member of the Hamburg and Berlin Chamber of Architects. In 1997 he was appointed to the Bund Deutscher Architekten BDA. Martin Froh signs responsible for the planning of all Chinese Projects. His main emphasize is laid on the planning of competitions, expertises, and designs. Since 1990 he has won more than 20 partly international and open competitions. Several have been realized, such as Alice-Salomon-Hochschule in Berlin, extension of Davidwache in Hamburg, HypoVereinsbank in Prague, Palais am Pariser Platz in Berlin, and Ningbo Book City in China. At present he realizes among other projects the new Building of the Main Customs of the City of Hamburg in the new developed Hafencity.

i like this one:

Hamburg – Channel Tower

Owner: Arne Weber
Project: Competition 1 Prize 1998
Construction period: 2001 -2003
Cost: 10.2 million EUR
GFA: 11,300 sqm

How does a cliff into the sea, the Channel Tower from the channel landscape Harburg. Its symbolic form was created as a metamorphosis from industrial architecture and modern architecture for high-tech company and modern office work.The curved facade is a living dark brick has been chosen, with its stone surface that represents a contrast to the lightness of the aluminum and glass facade of the tower.This lively brick facade wraps around the rising tower. The result is a dynamically rising roof line that mediates between the road and the accompanying development at Karnapp high point of the tower at the intersection of Scheller for the dam.The new building serves as an office building with flexible floor rental space. At the lower office floors are tiered roof terraces, differentiated exterior spaces with beautiful views of Harburg, and the same offer to Hamburg. Behind the facade beveled resulting in small balconies on each floor as a special open spaces. The spacious foyer on the ground floor of the Channel Towers offers the ideal setting for a variety of uses.

and one of his Books: Bernhard Winking: Architecture and City

September 15, 2010

Chicago Solar Tower / Zoka Zola Architecture

The proposed Solar Tower for Chicago by Zoka Zola Architects features an active solar array mounted to the façade which maximizes solar gain throughout the day. The spherically based design takes advantage of the large surface of a building by mounting the panels on the vertical plane. By incorporating tracking arms that the solar units mount to, summer electrical production can be improved by as much as 40% compared to a static mounted solar array, and even more compared to traditional vertically mounted solar facades. The array’s full potential is then realized, creating the greatest kWhrs production per square foot of any design. Wind pressure exerted on the solar panel holding mechanisms can be converted into energy.

The spherical panels are mounted in such a way as to maintain views for the interior but to reduce heat gain. This results in a minimized dependency on a cooling plant. The panels are evident from the interiors of the tower to emulate the technology. The siting of the tower will have a dramatic effect on its power production-being isolated or adjacent to a southerly body of water or park is preferable.  The entire building will have a kinetic profile raising onlooker’s awareness of renewable onsite energy production and sustainable urban design.

September 15, 2010

Nouvel’s Glittering New Apartment Building on Eleventh Avenue

100th Eleventh Avenue-10100th Eleventh Avenue-2

The new luxury apartment complex, 100 Eleventh Avenue with it’s glittering glass facade, opens this month. Designed by French Architect Jean Nouvel, the 23-story condominium building faces the Hudson River with a front facade composed of 1,700 panes of glass, each set at a different angles and torques to better reflect the light. It’s a striking building that certainly lends a bit of character as well as glamour to the Chelsea neighborhood. On top of that, it’s aiming for LEED certification, with a long laundry list of sustainable building elements to prove its worthiness.

While the front side of the building is sheathed in glass, the backside is constructed from a simple black brick with windows punched through all the way up to the top. From the outside, the placement of the windows seems random, but from the inside, great care was taken to position each window to provide a picturesque view of a NYC landmark, like the Empire State Building. As Nicolai Ouroussoff of the New York Times describes it, 100 11th Avenue is a, “mix of grit and glamour — embodied in a glittering facade that seems to have been wrapped around the curved front of a black brick tower like a tight-fitting sequined dress.”

Inside the luxury apartment building, is a spa, fitness center, indoor/outdoor pool, and a private garden. On the bottom floor in the entrance, is a suspended garden with mature trees and perennials cantilevered within the building’s structure. The top floor penthouse features a sky atrium and private rooftop terrace. The apartments themselves are selling for a pretty penny, going anywhere from to $1.6 to $22 million.100th Eleventh Avenue-5

Nouvel’s apartment building was designed to both stand out in the Chelsea neighborhood as well as blend in, and part of that blending in includes having a lower environmental impact. The structure is set to receive LEED Certification and includes the use of non-toxic and recycled materials and energy efficient design. At least 50% of the wood used is FSC certified and the walls are painted with low VOC paints. Recycled content materials as well as other low VOC materials, like sealants and carpeting are used throughout. Natural daylighting pours in through the floor to ceiling windows, which will help reduce the use of artificial lighting, while operable windows allow for fresh air and natural ventilation.

Although it is super pricey, the dazzling apartment complex is getting a lot of notice, not only for it’s glittering facade, but for the architect behind it and all the sustainable features included.

Via New York Times and gbNYC

photos via NouvelChelsea.comCurbed and WiredNewYork100th Eleventh Avenue-1100th Eleventh Avenue-4100th Eleventh Avenue-6100th Eleventh Avenue-7100th Eleventh Avenue-3

September 15, 2010

Adaptive Prototypes: Vanke Center and Formal Adaptability / Steven Holl


Ideal forms or adaptive geometries? Presented with the problem of resolving a complex program, such as housing, within a difficult site, architects usually pursue one of these two strategies.  They can either resolve the abstract issue of program, or address the concrete problem of context. The former becomes predicated on a pure internal logic, while the latter becomes an issue of adapting to external contingencies. A schism is created between idealized solutions to the problems of Housing, for example, and attempts to most fully ingratiate architecture with its surrounding context.

Those projects that set out to generate a ‘perfect’ programmatic or conceptual solution usually achieve this by disengaging themselves from their surroundings, resolving their formal aspects in isolation. Often the way this is achieved is by literally lifting the projects out of their sites, as was proposed by Le Corbusier when he shifted his buildings onto pilotis in the pursuit of a true ‘machine for living.’ Steven Holl’s nearly completed Vanke Center, in Shenzen, China is also lifted up off of its site, but unlike its modern progenitors this lift allows the project to marry the two halves of what had previously been a dichotomy of purpose. The lift constructs a more active relationship to site, while reinvigorating the bar building as an archetypal residential typology. The project points to a future paradigm where internally derived, conceptually pure prototypes are subtly co-opted to create new forms of contextuality.Vanke-1

A vast program is packed onto the Vanke Center’s reclaimed lake-front site through two basic gestures. First, most of the ‘compartmentalized’ programs, including apartments, hotel and the head offices of Vanke, are grouped together in a linear bar building, almost as long as New York’s Empire State building is tall. Rather than collect the program in a series of individual object buildings each dedicated to a unique function, the elements are assembled into a singular, space-defining, elevated mega-structure.  This liberates broad expanses of the ground plane, enabling the second basic move, which is the construction of a new topography encompassing a series of larger programmatic elements caught between the ‘original’ ground and a newly constructed one. These larger programs include such public amenities as a conference center, auditorium, spa, restaurants, and parking facilities. The new topography also sponsors a rolling ‘jungle’ landscape, also accessible to the public, who enter beneath the elevated bar building.

Conceptually, vertical disengagement from site as a strategy for maintaining ideological and formal purity has served as a trope for many avant-garde projects, often as a response to an implied degradation of context. Archigram’s Walking Cities floated above a post-apocalyptic landscape, scarred by ecological or nuclear devastation. Superstudio’s Continuous Monuments elevated to immense heights as they flew over rolling landscapes, while fleeing the oppression of capitalist consumption. Koolhaas’s Voluntary Prisoners of Architecture evaded the banality of contemporary bourgeois existence in an elevated landscape behind walls slicing across London; while the Japanese metabolists lifted programmatic pods into the sky (Arata Isozaki Clusters in the Air) or fled out into the water (Kenzo Tange’s Tokyo Bay Project) to escape the crowded chaos of the ‘public realm.’ Elevating the projects, shifting them towards the water, or generating new landscapes within them all became defensive positions against the impurities of context.vanke-3

It is ironic then that the deleterious motives of the ‘voluntary’ disengagement of program from site are skillfully inverted at the Vanke Center. The project serves as an environmental palliative that successfully generates genuine public space while becoming an anti-monument to one of China’s most successful ‘capitalist’ companies – whose products are the very real-estate communities that embody the lifestyle of China’s emerging bourgeois class. The disengagement does not serve as a tool to obviate the site.  Rather than seclude the project’s inhabitants, the lift allows greater public access to the green roof of the plinth. Rather than sequester the project, the lift allows sea air to circulate above water retention pools generating a more comfortable micro-climate for the site.

Formally and programmatically, residential bar buildings, a typology with a long history, often pursue a similar lifting strategy. Bar buildings such as Le Corbusier’s Unité d’Habitation, Ginzburg’s NarkomfinApartments, and Fiorentino’s Corviale, among other examples, are pure speculations on the problem of Housing.  These projects were all disengaged from their surrounding sites, because they were intended to propose the most idealized form of housing, rather than the best possible solution given the constraints of context. Their widths and lengths were conceived absent of site restraints. These forms were driven by the internal logic of appropriate unit sizes, the ideal distance to the window, the most efficient circulation, and the best community size, as a number of families.vanke-4

Tellingly, the space-making potential of the bar building in all of these cases was under-exploited. Instead, these buildings sit as perfectly resolved objects within a broader landscape.  Their exterior cladding responded systematically to interior constraints rather than broader site issues. Views were intended as an abstract benefit, given the amount of open space around these projects, rather than as a specific constraint defining a given orientation or form.

The Vanke Center, however, utilizes the spatial opportunities of the bar building – almost despite the programmatic efficiencies inherent in the judicious extension of its enormous length.  Unlike the Corviale, the Vanke Center’s linearity is compromised by the exigencies of site. The width of the project’s spine accommodates an efficient layout of hotel rooms, apartments and offices.  Its length, however, is angled repeatedly to reinforce the street edge, while delineating a contour of higher land fronting the watershed area. Secondary branches, whose widths vary as required to house program, split off the main spine. These define a network of outdoor spaces – more campus than park – which vary in scale and composition. The differentiated spaces correspond to a network of programs found in the vast plinth. Rather than point towers residing as silent objects in a park, the branching bars engender a new interconnectivity to the site based on spatial definition.vanke-5

The flexibility of the building’s linear form results in a network of incidental spaces located at the kinks of the main spine and at awkward intersections among the secondary bars. These spaces are opportunities for social interaction which compliment a network of semi-public nodes providing collective and business spaces for the inhabitants of the complex, all strung together by an elevated urban street. The placement of these spaces counteracts the otherwise capricious segmentation of program along the building’s length that matches the similarly disjunctive separation of program in high-rises by height. In most other ‘disengaged’ housing prototypes, other programs are entirely subservient to the housing they serve. Unsurprisingly, most of these servant programs prove unsustainable, as they are captive to the small populations for which they are intended. At the Vanke Center, the balanced mix of programs engenders the possibility of a truly 24-hour community that will sustain not only the smaller servant programs but also the larger public programs below.

Urbanistically, the ‘street in the sky’ is reminiscent of Team X projects like Smithson’s Robin Hood Gardens in London, while the variegated linear buildings forming a larger space-defining matrix further develop the network urbanisms of Candilis-Josic-Woods in projects such as Toulouse Le Mirail. The shift between the systems of Candilis-Josic-Woods and the contemporary model posited by Steven Holl is a shift from an internalized logic of programmatic growth to one of site-driven adaptation. The Vanke Center begins as a typological ideal and uses its network geometries as a tool for contextual response.vanke-6

The elevation of the linear components of the project above the new topography of the broader site is the crucial element in this shift. Whereas in the avant-garde projects of the modern theorists and the prototypical housing projects of the modern masters, elevating the bar is the critical element indisengaging the idealized building from the site, at the Vanke Center it becomes the critical element re-engaging the site. Elevated on eight massive core elements, the project becomes a raised belvedere, giving its users unparalleled views towards the ocean and the lakes fronting the building – over other, lower projects surrounding the site. Le Corbusier’s ‘machine for living’ becomes a ‘machine for siting.’ Rather than removing the project from the public realm, the lift gives the public access to similar views while allowing them to filter over the sculpted landscape of the larger programmatic elements.

The creation of this public space explains the seemingly more intuitive moves forming the linear bar network. Not only does the bar building adapt to the physical site limits and topography, it also adapts to the viewing corridors of the site and, most importantly, to its environmental conditions. The vast arms of the building function to channel air from around the site over a series of cooling ponds fed by the building’s grey water system. At the same time, the concentration of so much of the program within the bar building on the north side, allows the rest of the site to become a vast green roof – lush, public, and open to the sea.vanke-7The building’s environmental responsiveness points towards a new approach to site that is broader than a conventional notion of contextualism predicated on similar form, alignments, materiality and details. The Vanke Center suggests a strategy in which idealized formal prototypes (in this case the residential bar building) derived from an idealized understanding of programmatic performance, are manipulated towards a meaningful contextual engagement predicated on environmental responsibility. Physical form becomes replaced with sustainable space. The ground plane is sacrificed to enable this. Liberated from the tyranny of this basic datum, similar projects can potentially become free to negotiate their contextuality with other elements of the site – be they existing infrastructural elements, peripheral buildings, broader site factors such as views and circulation, and environmental conditions such as air circulation and water control.  Derived from autonomous formal prototypes, these contemporary architectures, through their adaptability, can allow a new contextuality to emerge.All photos ©Shu He / Courtesy of Steven Holl Architectsvanke-8vanke-9vanke-10vanke-11vanke-12vanke-13vanke-14vanke-15vanke-16vanke-18vanke-19vanke-20vanke-21

September 15, 2010

Torre Reforma – Latin America’s Tallest Building will be LEED Platinum

Torre Reforma_1

Mexico City will soon see a new landmark take its place on the landscape. Torre Reforma is a 244 meter tall, mixed-use tower with a projected LEED Platinum certification, a first for Latin America. Wedge faced on one side, flat on the other, its changing character will complement and counter balance its smaller neighboring tower Torre Mayor. The building is designed by LBR&A Arquitectos.

The tower will be the tallest in Latin America and will strive to not just be bigger but more adaptable. It starts from below where a 16 story robotic parking garage will hold over 1000 vehicles, but its central location and access to public transportation will encourage Mexico City to build up rather than out. A two story garden hosted in the middle of the tower creates a vertical park. The park is evident though a floor to ceiling glazing system that also reveals the cross bracing members that stiffen the tower for earthquakes. Perhaps the most apparent design characteristic is a steeply sloped southern wall which will be clad in solar electric panels. Windows will be automatically opened in the cool night hours to flush heat from the building.

An existing historic gothic style building on-site is being dismantled and will reside at the corner of the lot still underneath the bulk of the tower, not unlike the Citibank Tower in New York. The tower will contain restaurants and retail, 18 floors of apartments and 28 floors of office space on top. Currently under construction, completion is projected in late 2011.Torre Reforma_2Torre Reforma_3Torre Reforma_4

September 15, 2010

Steven Holl’s LEED Platinum ‘Horizontal Skyscraper’ in Shenzhen

Steven Holl Vanke Center-9When tasked to design a multi-use project for the Shenzhen Vanke Real Estate Co, Steven Holl opted against tradition, and came up with a rather intriguing design – a horizontal skyscraper. Holl and his team where shackled against a 35 meter height restriction and instead of building multiple smaller building for each function, they kept them in one building and laid it on its side. In fact, if you laid the Empire State Building on its side, the two would be about the same length. On top of the unique design, the Vanke Center is slated for LEED Platinum certification and is built to withstand a tsunami, should it ever experience one.Located in Shenzhen, China, the roughly 440 meter long horizontal skyscraper is built upon eight stilts, propping the building up off the ground and creating a substantially large open park underneath. In case of a tsunami, the building is elevated high enough and is strong enough to let water flow underneath it unharmed. The 1,296,456 square foot building itself is mixed-use development and contains a hotel, apartments, office space, a conference center, a spa as well as public garden space with restaurants and walkways.Propping the building up off the ground allowed for more open space as well as better views over the lower developments of surrounding sites to the South China Sea. Under the bottom of the floating structure are hanging glass cubes, which offer visitors or employees 360 degree views of the lush tropical gardens below. Meanwhile the multiple ends of the structure each look out to a specific vista in the distance, whether it be the nearby lake, the ocean or the surrounding landscape.The garden itself was inspired by Roberto Burle Marx’ gardens in Brazil, and contains restaurants and cafes in vegetated mounds bracketed with pools and walkways. Breezes flowing in from the sea help to cool the gardens as well as the building, and at night the breezes carry with them the scent of jasmine accentuated by the colorful glow of the underbelly of the complex.Designed to achieve LEED Platinum certification, the Vanke Center includes many sustainable design elements. On the roof of the building, a solar photovoltaic system provides the building with 18% of its power. Inside, the doors, floors and furniture are made from a bamboo, considered a renewable resource because it grows so quickly, and the carpets are made from recycled materials. High performance glazing and the narrow design allows for a lot of natural daylight, but minimizes solar heat gain and cooling needs. The Vanke Center was recently completed in 2010 and has since been awarded 2010 Honor Award from the American Institute of Architects.Steven Holl Vanke Center-4Steven Holl Vanke Center-1Steven Holl Vanke Center-2Steven Holl Vanke Center-3Steven Holl Vanke Center-5Steven Holl Vanke Center-6Steven Holl Vanke Center-7Steven Holl Vanke Center-8Steven Holl Vanke Center-10

September 15, 2010

Professor Peter P. Schweger

Dipl.-Ing. Architect BDA

Hamburg Chamber of Architects No. 227

born 1935

Technical University of Budapest
Swiss Federal Institute of Technology Zurich
to 1960
Participation in several offices in Zurich
Working with Peter P. Schweger
Heinz Graaf, Hamburg
Architects Graaf – Schweger
Lecturer School of
Fine Arts in Hamburg
1968 +71
Technical University of Hannover
Professor and Chair of building customer
and Design at the University of Hannover
Transformation of the architecture in
Graaf – Schweger + Partner
Renaming of the office in
Schweger + Partners Architects
GGP Society for overall GmbH
Managing Partner
ASP Schweger Associates GmbH overall
Managing Partner
Managing Partner

September 15, 2010

Dubai Pearl / Schweger Architects


ubai Pearl is a new residential and commercial development in Dubai situated in the newest part of the city with magnificent views to the Gulf, the Palm Island, and the Burj Al Arab. The complex has been designed to receive Gold LEED certification and to become a new landmark for the city.

The design is composed by five rectangular towers interconnected at the top level by a horizontal structure programed with public amenities. At ground level a series of low-rise commercial buildings allow a soft transition to the city and promotes the much needed pedestrian life. Palms, fountains, and shading structures are incorporated to create an oasis for the city.

ubai Pearl epitomizes the new Dubai – a dynamic, ecologically sustainable composition of high-rises, even as a symbol of diversity, unity and expediency. The design provides changing appearances in all directions, creating a sophisticated urban city.

The urban space in which the place for Dubai Pearl is embedded, is a space continuum with one independent urban areas and building structures. Therefore, this place needs a clear, single and clear definition. The place for Dubai Pearl is an urban fabric in this “island” surrounded by traffic.

The “island” rises from the urban conglomeration and develops a unique characteristic.

The composition of the tall buildings with their new typology is a far more powerful characters. This minimalism and clarity also make an analogy in the figurative sense of clarity and geometric properties of a pearl. This follows a philosophy shows that it is necessary and worthwhile to clarify basic concepts, to strip the proliferation of vague rhetoric and recurrent superficial and design standards and look for compression and complexity in simplicity.

The right to create and proposal for a “Living City” a place of urban living on the “island,” a prudent bypassing the need for scale and atmosphere of the room as well as the climatic conditions such as sun and wind.

Start of construction: 2008
Completion: 2013

Plot: 162 339 m²
WHP Towers: 713 000 m²
BGF City Living: 360,000 m²
Gross floor area above ground: 1.073 million sq meters
Gross floor area below ground: 321 052 m²
BGF total: 1,394,052 sq meters

Pearl Dubai FZ LLC

Project Management:
PMDC Project Management
Development Consultants

Prof.Peter P. Schweger
Jens-Peter Frahm
Mark students

Structural engineer:

TGA planning:
Ebert-Ingenieure GmbH Hamburg, Hamburg, Munich

Elevator Planning:
Jappsen engineers Berlin GmbH, Berlin

Facade Technology:
IFFT Institute of Technology facade Frankfurt, Frankfurt

Masuch + Olbrisch GmbH,