Despite their wide divergence in tact and outcome, nearly all designers add some cultural reference, if nothing else to avoid being labelled as culturally insensitive.What counts as culture and insensitivity in this context however, is unclear.The critics and scholars that deride the UAE’s globalisation and call for a return to traditional principles seem to agree on only one thing: our idea of the Arab-Islamic city is based upon a historical process, not a product.This process was, and in some cases still is, slow, organic, additive, ad hoc and sensitive to Islamic law. In contrast, today’s growth is rapid, holistic, planned (and then quickly re-planned), and sensitive to multi-faith communities. Speaking of an identity in such a context is foolish.The UAE contains multiple identities from the Westerners that design and work in its corporate buildings to the Emiratis that own them to the migrant labourers that construct them. It is no surprise that the buildings themselves reflect this diversity in a sea of symbols. g
The rise of neo-traditionalism faces its own backlash.Arab and Western critics alike criticise the superficial gestures of the Arab-Eclectic, arguing instead for a return to the formal traditions of the Arab-Islamic city. However, some Arab scholars criticise the simple notion of an Arab-Islamic tradition, noting the varied composition and development of the region’s cities. In his book Cities and Caliphs , Mideast scholar Nezar AlSayyad argues that ‘to label everything ‘Muslim’ or ‘Islamic’ assumes a poverty of cultural response’.This debate begs another question: why should this tradition influence cities in the UAE, whose history is relatively brief and whose population is less than twenty percent native? Why is it a problem if the built environment reflects Abu Dhabi’s and Dubai’s global population and ambitions? Not surprisingly, the UAE’s newest buildings mirror its confused and volatile identities. Designers working in this context pick and choose among a whole host of cultural references while completely ignoring others. Some choose to use merely abstract symbols, like the flower of the Burj Khalifa and the sail of the Burj Al-Arab. Others borrow built symbols, such as the onion domes and Islamic arches of Dubai’s Palm Sales Centre, designed by the American firm HHCP Architects (which has also done themed work for Disney). Still others draw upon formal traditions, such as Foster + Partner’s scheme for Abu Dhabi’s central market mentioned above.
The Grand City Mall of Al Quoz. The mall is located in an industrial area and its food vendors, retail stores, travel agency, pharmacy and driving school serve many labourers
The arches and onion-dome relief of the Mall of the Emirates with Ski Dubai’s enclosed ramp in the background
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Robert Perry
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