Posts Tagged Middle East

Saudi Arabia to build world’s tallest skyscraper

£736m multi-purpose Kingdom Tower in Jeddah will stand 1,000 metres tall, surpassing Dubai's Burj Khalifa

They are the neighbouring gulf states battling it out for economic supremacy. And in the latest grand example of keeping up with the Joneses, Saudi Arabia has awarded a contract to build the world's tallest skyscraper, shattering the current record held by a building in Dubai.

The £736m deal for the hotel, office and residential complex reaching two-thirds of a mile into the sky makes Saudi Arabia the current frontrunner in the race between the oil-rich nations for glitzy architectural trophies. The projects are seen as status symbols to show off both economic success and cultural sophistication.

Kingdom Holding Co, the investment firm headed by the billionaire Prince Alwaleed bin Talal, said it signed the deal with the Binladen Group to build the 1,000-metre Kingdom Tower on the outskirts of the Red Sea city of Jeddah. The Saudi construction group is owned by the family of Osama bin Laden, which disowned the former al-Qaida leader years before the 9/11 attacks.

"The decision of the partners to build the world's tallest building further demonstrates their belief in investing in this nation," said Talal al-Maiman, a Kingdom Holding Co board member.

"We intend Kingdom Tower to become both an economic engine and a proud symbol of the kingdom's economic and cultural stature in the world community. We envision Kingdom Tower as a new iconic marker of Jeddah's historic importance as the traditional gateway to the holy city of Mecca."

The proposed skyscraper would break the record of Dubai's 828-metre Burj Khalifa, which opened in January 2010 as the world's tallest building with 160 livable floors and a boutique Armani hotel.

Dubai developer Nakheel had planned to build a tower more than 1,000 metres high in the city-state but shelved the plans in early 2009 as the global economic crisis soured demand.

Kingdom Tower, designed by Chicago-based Adrian Smith + Gordon Gill Architecture, is the first phase of the planned Kingdom City, a two-square mile urban development first announced in 2008 as the financial crisis squeezed world markets.

The venture is seen as a key part of Saudi ambitions to maintain growth by diversifying its economic base away from oil. It is planning a number of economic cities, creating tens of thousands of new jobs as the country tries to ease its reliance on foreign workers.


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Recording revolution: George Orwell v Joan Miró

Both responded strongly to Spain's civil war and early fight for democracy. But Orwell was willing to face – and tell – the truth

George Orwell was no great art lover. In Homage to Catalonia, his book on the Spanish civil war, he makes scathing remarks on Barcelona's 'hideous, modernist cathedral' – by which he means Gaudi's Sagrada Família, neither ugly, nor straightforwardly modernist, nor a cathedral. In a famous essay on Salvador Dalí, he portrays modern art as a decadent, amoral, selfish business.

I don't know if he was even aware of Joan Miró, a far more likable modern artist by Orwell's moral criteria, or of his poster Aidez L'Espagne!, which expressed the Catalan painter's passion for the republican cause in Spain. But these two men and their responses to revolution and war in the 20th century make a fruitful comparison at this moment in the 21st.

In 1930s Spain, a democratic republic was trying to sweep away centuries of monarchical and Catholic absolutism. But Spanish democracy came under attack from a nationalist military revolt led by General Franco. Idealism did not defeat guns: Franco went on to win.

Miró, like Picasso, reacted with deep emotion to the plight of Spain. His paintings see the violence of civil war in an old shoe, in the prongs of a fork, in a colossal woman. Like Goya, he probes the horrors of a society tearing itself apart. But Miró and Picasso were not themselves fighting in Spain, and their support for the republican cause was not complicated by any investigation of its failings.

That is why, although the Spanish civil war generated some of the greatest art of the 20th century, if we want the real lowdown on Spain we will always go beyond images to a work of journalism. The more I think about it, the more incredible it seems that Homage to Catalonia got written. Only Orwell could have written it, because no one else was at the same time idealistic enough to join the militias and fight in Spain yet honest enough to anatomise in such ruthless detail the lies and manipulation that let the left cripple itself.

Today, we are all Joan Miró. We express loud and forthright support for democratic revolts across the Middle East. But what next? If it all ends in a democratic utopia without too much bloodshed, we will register our delight. Rightly so. But what if Gaddafi's bloodcurdling words mark a gorier stage in this regional revolution?

At that point, it would not matter how many fine words were spoken in support of fine ideals. Instead the world would – does – need new Orwells, ready to fight for justice but also to face and tell the truth, however uncomfortable. If you have not read Homage to Catalonia, read it. If you have, why not read it again? It is one of the truly essential modern books.


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Architects against Israeli occupation | Abe Hayeem

With the settlement freeze over, international architects must take action to end illegal construction in the West Bank

In deciding to back the boycott of Ariel theatre in the West Bank, Frank Gehry, the Canadian-American architect of Guggenheim fame, joins a growing body of professionals who are making a stand against the illegal settlements. Ariel, a quintessential illegal settlement, is continually expanding to fit the over-generous boundaries staked out over Palestinian land, choking the development of Palestinian villages nearby. Its new state-funded cultural centre, 20 years in the construction, is due to open in November.

Architecture and planning are instruments of the occupation, and constitute part of a continuing war against a whole people, whether as a minority within Israel's green line, or in the occupied territories. Since this involves dispossession, discrimination and acquisition of land and homes by force, against the Geneva conventions, it can be classified as participation in war crimes.

Arbitrary planning laws are not enforced in the many illegal projects built by settlers, and major development plans are implemented without complete approval. Areas owned by Palestinians are simply declared to be green areas, making their presence there "illegal".

What can one say about the Israeli architects who follow the state's policies and aims yet deny that their role is political? Despite all the evidence of illegality under international law and breaches of human rights in the land grabs, house demolitions and evictions, Israeli architects and planners continue their activities. They cannot claim that they do not know: there have been plenty of calls for them to stop.

More of the illegal projects that have been built over the last four decades are ready to go now that the recent settlement freeze has ended – with no sign of resistance or protest from the Israeli Association of United Architects (IAUA). This applies not only to ultra-Zionist architecture firms but mainstream architects of international repute such as Moshe Safdie and Shlomo Aronson. Safdie has been responsible for the now notorious Plan 11555 for the extreme nationalist settler movement Elad that has, in effect, been given control of Silwan, a Palestinian neighbourhood in East Jerusalem.

The International Union of Architects (UIA) has already taken note that Israeli architecture and planning in the West Bank is contrary to its professional ethics and codes of conduct. After Architects and Planners for Justice in Palestine raised this issue at the UIA council meeting in Brazil in July 2009, the UIA issued a statement saying:

"The UIA council condemns development projects and the construction of buildings on land that has been ethnically purified or illegally appropriated, and projects based on regulations that are ethnically or culturally discriminatory, and similarly it condemns all action contravening the fourth Geneva Convention."

With settlers now celebrating the prospect of thousands of new housing units being built in the West Bank, Israeli architects will continue reaping the bonanza of a housing boom that has continued for decades. Writing in Haaretz earlier this month, Esther Zandberg, the paper's architecture correspondent, said:

"Trends and world-views seep in from the other side of the Green Line and impact on architecture in the rest of Israel more than architects are willing to admit. A protest by established architects within the community, figures with a reputation and influence, could lead to a protest movement that will draw many, restore to architecture its confidence in itself and its values, and may also make its own contribution to the end of the conflict over the land. Architects? Protest? Peace really can happen."

The international solidarity movement has decided that the best way to change Israel's behaviour is to take actions against Israeli companies and institutions in order to put pressure on the government there. Last year, as the result of a campaign led by APJP, Pacbi and universities in Europe, Spain disqualified architecture students from the "Ariel University Centre of Samaria" (sic) from a competition to build a solar house in the Solar Decathlon in Madrid. "Spain acted in line with European Union policy of opposing Israel's occupation of Palestinian land," a Spanish official said.

Since little seems forthcoming from the Israeli architects' body, despite appeals over the last decade, the responsibility falls on architects worldwide and the UIA to press for action to end this complicity, and defend the ethics and humanity of their profession.

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The battle for Beirut’s buildings | Deen Sharp

As Dubai-style skyscrapers spring up in central Beirut, the city's precious architectural heritage is being lost

The built environment of Beirut is rapidly changing, and this transformation is destroying much of the city's rich architectural fabric. Surrounded by the new towering Beirut is the unique and heavily scarred structure of the Egg.

Built by the Lebanese architect Joseph-Philippe Karam in 1965, and dubbed "the Egg" due to its curved form, it is the only surviving building in the downtown area from Lebanon's vibrant avant-garde movement. Much of the rest of this heritage was destroyed during the civil war (1975-1990), a legacy marked on the outer skin of the Egg.

The Egg, after surviving the war, may not survive the recovery. Beirut's booming real estate market is resulting in the removal of Beirut's unique built heritage to make way for the ubiquitous skyscraper. The threat of the Egg being destroyed sparked a wave of emotion among many Lebanese increasingly distressed at the continued demolition of their architectural heritage. There has been substantial online activism and media attention to stop Abu Dhabi Investment House, the owners of the site, destroying the Egg. The activists are also vexed by the fact that it is a company from the Gulf that will decide whether the structure will be removed or not. Comments such as "Our identity and culture as Lebanese is not for sale for Gulf millionaires," capture the frustration.

The Egg is at the centre of a battle over the future of Beirut and the type of city it should become. Beirut has a wonderful and prolific architectural heritage, as does Lebanon as a whole. Although the city has been plagued by successive urban planning failures, a quality urban fabric of Ottoman and French colonial-style buildings did establish itself. As an independent Lebanon entered the 1950s a layer of significant modernist buildings was added. This continued into the 1960s and Beirut, by the end of that decade, had a internationally significant and unique body of modernist architecture. This rich heritage, built mainly by Lebanese master builders and architects, is being squandered.

The "Paris of the Middle East" is increasingly becoming a "Dubai of the Levant". Even after the global financial crisis, Dubai remains the city to emulate in Lebanon. This change in the character of the built environment is being pushed mainly by speculative property developers and the Lebanese business community, and resisted mainly by architects and civil society activists. Currently, it is the former that is winning the debate.

The result is that the city is being turned into a series of suffocating canyons. Outdated planning laws mean there are no formal height restrictions. If your building is set back far enough from the street then the sky is the limit. Some developers have taken this apparent challenge all too literally. In Beirut's Ashrafieh district, in the east of the city, a 50-storey building, named Sama Beirut (Beirut Sky), is being built, replacing four-storey French mandate art deco buildings. This pattern is being replicated all over the city. Historic buildings are ripped down for unplanned and ill-proportioned skyscrapers.

Many of those pushing for a Dubai-style environment point to Solidere as an example of how Lebanon is preserving its architectural heritage and economically progressing. Solidere, founded in 1994 by the late prime minister, Rafik Hariri, has been rapidly rebuilding the centre of Beirut that was completely destroyed during the 15-year civil war which ended in 1990. The Solidere project covers an area of 472 acres of land and has at great cost artfully and painstakingly reconstructed the Ottoman and French colonial style buildings that were turned to rubble during the civil war.

The total reconstruction of the historic core of downtown Beirut was a powerful political statement but a weak architectural one. The architectural community in Lebanon is very uneasy about what Solidere has recreated. The Solidere project is often described as a "Disney Downtown". Critics are also increasingly indignant of the focus of Solidere on recreating the Ottoman and French-style buildings that previously existed. Meanwhile, real existing Ottoman and French mandate buildings elsewhere in the city are torn down for more profitable skyscrapers.

A genuine history is being destroyed while a fake one is being built. The Solidere project has clearly illustrated in its reconstruction of the downtown area that once this heritage is gone it cannot be rebuilt. This process is creating a battle over what some are calling the "soul" of the city. As Lebanese architect Bernard Khoury protested: "We're not Dubai – we have a soul." This may not be so for long.


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Burj Dubai: the world’s tallest building

With two swimming pools and plans for the world's highest mosque, the $1bn 'superscraper' dwarfs the world's previous tallest building, the 508m Tower 101 in Taipei


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Charlie Brooker | Remember those dreamlike images of Dubai? Guess what. You were dreaming

Dubai's fantasy skyline seems to have been built on sand
Datablog: Dubai's financial crisis - how much money do banks lend around the world?

I am phenomenally stupid. Stupid in every conceivable way except one: I'm dimly aware that I'm stupid. This means I spend much of my time assuming the rest of the world knows better, that everyone else effortlessly comprehends things I struggle to understand. Things like long division, or which mobile phone tariff to go for. In many ways, this is a comforting thought, as it means there's a limitless pool of people more intelligent than myself I can call on for advice.

But sometimes I find out my gut assumption was right all along, and it's a deeply unsettling experience. Take Dubai. I'm no expert on Dubai. Never been there, and only read about it in passing. The one thing I knew was that everything I heard about it sounded impossible. It was a modern dreamland. A concrete hallucination. A sarcastic version of Las Vegas. Dubai's skyline was dotted with gigantic whimsical behemoths. There were six-star hotels shaped like sails or shoes or starfish. Skyscrapers so tall the moon had to steer its way around them. It had immense off-shore developments: man-made archipelagos that resembled levels from Super Mario Sunshine. One was in the shape of a spreading palm tree. Another consisted of artificial islands representing every country in the world in miniature. As if that wasn't enough, a proposed future development called The Universe would depict the entire solar system.

When I first read about all this stuff, I felt a bit uneasy. None of it sounded real or even vaguely sustainable. I'd been to Las Vegas a few times and seen crazy developments come and go. The first time I visited, the hot new attractions were the Luxor, an immense onyx pyramid, and Treasure Island, a pirate fantasy world replete with lifesize galleons bobbing outside it. Roughly halfway between the pair of them, a replica New York was under construction. By my next visit, the novelty value of both the Luxor and Treasure Island had long since palled, and they now seemed less exotic than Chessington World of Adventures. Meanwhile, unreal New York had been joined by unreal Paris and unreal Venice.

But even at their most huge and demented, none of these insane monuments looked as huge and demented as the projects being announced in Dubai. Yet the novelties, while larger, were wearing thin even more quickly. Dubai's The World archipelago hadn't even opened when the same developers announced The Universe, thereby making The World sound like a rather diminished prototype before anyone had moved in.

In Las Vegas the grimy engine that paid for each new chunk of mega-casino was there in plain sight at street level: woozy drunks thumbing coins into slots 24 hours a day. Hundreds of thousands of them, slumped semi-conscious in rows like dozing cattle hooked up to milking machines. Ching ching ching, slurp slurp slurp. It was like watching a gigantic crystal spider increasing in size as it coldly sapped the husks of its victims. Ugly, but at least it made sense.

Where were the coin slots in Dubai? I had no idea. I just gawped at the photographs and was secretly impressed by the cleverness of the people who'd managed to generate so much money they could safely take leave of their senses and construct 300ft buttplug skyscrapers and artificial floating cities shaped like doodles scribbled in the margins of sanity. To my dumb, uncomprehending eyes it looked like a collection of impossible follies. But what did I know? Clearly the people actually paying for all this stuff knew precisely what they were doing.

But ah and oh. It appears my uninformed gut reaction, that slightly worried vertigo shiver, the hazy sense of "but surely they can't do that . . ." may have been precisely the correct response. Now it's in trouble, the world's financial markets seem shocked and surprised, like Bagpuss being disappointed to learn that the mice from the mouse organ couldn't really create an endless supply of chocolate biscuits from thin air. They should've phoned me for advice. If only I'd known. I could have charged a fortune. But then I'm so dumb I'd probably have blown it investing in an artificial Dubai archipelago shaped like Snoopy's head or something.

In the cold light of 2009, Dubai resembles a mystical Oz that was somehow accidentally wished into existence during an insane decade-long drugs bender. Those psychedelic structures, pictured in a fever by the mad and privileged, physically constructed by the poor and exploited, now look downright embarrassing, like a Facebook photo of a drunken mistake, as though someone somewhere is going to wake up and groan, "Oh my head . . . what did I do last night? Huh? I bankrolled a $200bn hotel in the shape of a croissant? I shipped the workers in from India and paid them how little? Oh man! The shame. What was I thinking?"

The world's tallest skyscraper, the Burj Dubai, is due to open in January. It looks like an almighty shard of misplaced enthusiasm: a lofty syringe injecting dementia directly into the skies, a short-lived spike on a printed readout, or a pin pricking a gigantic bubble. Not a shape you'd want to find yourself unexpectedly sitting on, in other words. Just ask the world's financial markets, once they've finished screaming.


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Response: Dubai’s skyline is a mark of vitality, not superficiality

Its 40-year transformation from fishing port to busy city has been remarkable, says Siobhan Campbell

Germaine Greer's account of her recent trip to Dubai is disappointing (From its artificial islands to its boring new skycraper, Dubai's architecture is beyond crass, 9 February). Her verdict of Dubai as "crass" and "with neither charm nor character" lacks insight, and panders to the media pastime of rejoicing in the supposedly burst bubble of Dubai's prosperity.

As a Dubai resident I'm the first to admit that this place has its shortcomings, some of which are on a staggering environmental or humanitarian scale. The traffic and sewage problems that the city is currently experiencing are examples of this, but it cannot be overlooked that what was once a dusty fishing port and trading village has transformed itself in less than 40 years.

Sights such as the Burj Al Arab, the Palm Islands and the Burj Dubai, which Greer mentions, are being built on a jaw-dropping scale with the intention of attracting investment and tourists: with both of these come jobs. The UAE has long recognised the need to diversify its industries, and the fact that "only 6% of Dubai's revenue comes from oil" is testament to the success of this drive. One could argue that the entire mirage of "excess" and "megalomania" that Greer finds so crass is likewise created for tourist appeal.

In contrast, while Greer states that the dhows on Dubai Creek only have a purpose in taking "tourists on one-hour pleasure cruises", they are in fact an integral part of the city's transport network. Washing machines, televisions, DVD players and other household goods are unloaded from the dhows returning from India, Iran and the Gulf states, and stacked up on the creek banks without guard, where anyone can stroll past but where no one would dream of stealing anything - a remarkable sight to tourists but one, it would seem, that isn't on the tour bus route.

"Here, there is no subsistence; here there is only shopping," says Greer - a predictable response from someone who has taken a bus tour of Dubai's shopping malls and construction sites without setting foot in the city to witness its dynamism. Dubai has an intrinsic impermanence by virtue of its ever-changing skyline and its workforce of expats who are forever coming and going. Many find this constant flux energising and revitalising, rather than seeing it as a reflection of the city's superficiality.

As for Dubai having "neither charm nor character", Greer has failed to appreciate the dichotomy between Dubai's need to modernise and its desire to retain its cultural identity. With a population of whom only 20% are nationals, forging a single cultural identity will always be a challenge; but if it's history and heritage you're after then the Bastakiya and Bur Dubai areas should be on any tourist's itinerary.

The assumption that one can get a true sense of a place from a whirlwind visit compounds the popular view that Dubai's culture is skin deep and that the city is the epitome of the throwaway consumerist society. What did Ms Greer expect from four hours on a bus?

• Siobhan Campbell is a writer and editor for Explorer Publishing in Dubai siobhan@explorerpublishing.com

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