Museum Development in the Gulf: Narrative and Architecture (original) (raw)

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How might interpretations of the past be informing the culture of tomorrow? Sarina Wakefield, a specialist in heritage and museum development in the Middle East, provides an overview of the form and function of contemporary museums in Qatar, Bahrain, Saudi Arabia and the UAE. In so doing, she explores how institutions are drawing on locally specific heritage and cultural objects to develop distinctive identities for an international audience.

Tadao Ando, Maritima Museum, Saadjrat Marina District, Saadjrat Island Abu Dhabi, UAE, ongoing
previous spread: Artist’s impression of the proposed museum illustrating how the clean lines of the building merge with the surrounding seascape.

Ateliers Jean Nouvel, National Museum of Qatar, Doha, Qatar, due for completion 2016

The design for the National Museum makes reference to Qatar’s natural environment through disc-shaped planes that appear to rise from the site like a desert rose.

Museums have been present in the Gulf since the 1950s, 1{ }^{1} and since 2000 there has been a proliferation of state-led large-scale ‘iconic’ projects, many of which are still under construction. Like their counterparts in Asia and the West, museum projects in the Gulf are not immune to the desire for iconic buildings by invited internationally recognised architects. Many of these developments have been highly criticised for trying to replicate Western-style museums and for ‘importing culture’. However, by analysing the architectural form and the function of some of these new museums, in particular those in Qatar, Bahrain, Saudi Arabia and the UAE, it is possible to see how different aspects of the past are being employed to develop distinctive identities using locally derived themes to address a global audience.

Qatar Museums: Nation and Identity

The Qatar Museums Authority (QMA) was formed in 2005 with the aim of developing Qatar into a regional cultural centre. This was a measured move by the government whose directive is to reinforce and promote Qatari national identity locally, regionally and internationally. QMA’s vision focuses on the development of national museums and the preservation of cultural heritage. 2{ }^{2} The most visible manifestations are Qatar’s flagship museum projects: the National Museum of Qatar and the Museum of Islamic Art.

The development of the National Museum of Qatar marks a measured move by the Qatari government to use architecture to establish its identity. Qatar’s original National Museum opened in 1975 in a restored palace built in the early 20th century by Sheikh Abdullah bin Jassim Al-Thani. This early museum served as his family residence and the seat of government for 25 years. 3{ }^{3} In 1980 the building won the Aga Khan Award for restoration and rehabilitation of Islamic architecture. Although not currently operational, redevelopment plans draw on the theme of Qatar’s natural history and environment for inspiration.

Jean Nouvel’s design for the National Museum, located on a prominent site in Doha and scheduled for completion in 2016,draws inspiration from the desert rose, ‘a mineral formation of crystallized sand found in the briny layer just beneath the desert’s surface’. 4{ }^{4} A building information modelling (BIM) project was developed by Gehry Technologies to ensure the accuracy and workability of the complex design, which consisted of 'tilting, interpenetrating disks that define the pavilion’s floors, walls and roofs 5{ }^{5} and seeks to establish an iconic image for the museum. Nouvel’s design links the inside and outside of the museum by incorporating a 110,000-square-metre (1.2-million-square-foot) landscaped park. Influenced by the local environment, the park will become a ‘Qatari desert landscape’ incorporating various indigenous plants. 'When complete the museum will house 8,000 square metres ( 86,000 square feet) of permanent gallery space, which will feature three central themes: the natural history of the Qatar peninsula, the social and cultural history of Qatar, and the history of Qatar as a nation from the 18th century to the present. 6{ }^{6}

Qatar’s ambitions to become a cultural centre have also focused on Islamic culture and identity through the development of the Museum of Islamic Art, which opened in 2008. Designed by IM Pei, the 35,000-square-metre (377,000-square-foot) museum aims to be ‘the foremost museum of Islamic art in the world’. 7{ }^{7} It is inspired by the domed ablution fountain at the Ibn Tulun Mosque in Cairo, and used in Pei’s design by layering geometric shapes to form a cubic structure. 8{ }^{8} The aim is to challenge misconceptions of Islam by illustrating its role as a culture, not just a religion, through the breadth of its collection that spans 13 centuries and three continents. Through Islamic symbolism and the development of its global collections and programmes, the museum takes an overtly international approach.
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The National Museum of Saudi Arabia: an Islamic Centre

The development of museums in Saudi Arabia is related to wider policies of social and intellectual development. The National Museum of Saudi Arabia in Riyadh, which opened in January 1999, formed part of the government’s economic development programme to widen Saudis’ economic and cultural activities. The architects, Moriyama & Teshima, saw the design of the museum as an instrument to ‘help Saudis define themselves for the rest of the world and to inspire national pride in Saudi culture and history’. 2{ }^{2} The central design is a wall of local limestone that forms a curved line directing the visitor’s gaze towards Mecca. Inside the 35,840-square-metre (385,780-squarefoot) museum are eight major display halls arranged according to historical sequence containing a collection of archaeological finds, documents, manuscripts, paintings and film.

The museum’s ultimate aim is to educate visitors about the kingdom’s history and its relationship to Islam. Unlike other institutions in the Gulf that have been developed for an international audience and tourists, museums in Saudi Arabia face challenges due to restrictive visa requirements. Therefore, the National Museum primarily targets regional and national visitors, and expatriate workers residing in Saudi. The physical building and its collections are used as a space for selected audiences to engage with the kingdom’s past, and the iconic treatment of the building and the international reputation of the architects are used to position the project globally.
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IM Pei,
Museum of Islamic Art,
Soha, Qatar,
2008
IM Pei was commissioned out of retirement to design the museum, which was based on geometrical transformations found throughout the history of Arab Islamic architecture.
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Muriyama & Teshima, National Museum of Saudi Arabia, Riyadh, Saudi Arabia, 1999

The museum’s curved wall, which is strategically positioned to sweep towards Mecca, marks the entry to the building and defines an open plaza.

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KHR Arkitekter, Bahrain National Museum, Manama, Bahrain, 1988

The design for the museum draws on Bahraini vernacular precedents to produce a functionally focused space to house and display the nation’s archaeological collection.

Wohlert Arkitekter, Wal’at al-Bahrain Site Museum, Manama, Bahrain, 2008

The museum was designed to connect with the site of Qal’at al-Bahrain (the Bahrain Fort) aesthetically and functionally by enhancing the physical surroundings and the visitor experience.

Bahrain: Architecture and the Pre-Islamic Past The Bahrain National Museum, which is distinguished by its locally sensitive architectural design, was built in 1988 to house artefacts from extensive archaeological excavations that have contributed to knowledge of the nation’s pre-Islamic past. The archaeological evidence suggests that the earliest occupation of Bahrain dates to around 5000-4000 BC, and that it became the centre of the Kingdom of Dilmun. The remains of an early Dilmun city were discovered at the site of Qal’at al-Bahrain (the Bahrain Fort). 10{ }^{10} Dilmun served as a trading centre from around 2500 BC , and at the height of its power it controlled Gulf trading routes. The site at Qal’at al-Bahrain would have served as an important trading stop on the routes stretching north to Mesopotamia and Assyria, south to Oman and Africa, and east to the Indus Valley. 11{ }^{11}

The museum was designed and developed by Bahrain-based engineers COWI Consulting in collaboration with Danish architects KHR Arkitekter. The architecture of the building is characterised by a minimalist white travertine facade, 45 -degree rotations and a dramatic courtyard overlooking the seafront. 12{ }^{12} This is arguably due to a much greater interest in developing architecture with a local vernacular in the Middle East that was prominent in the Gulf in the 1970s and 1980s. This contrasts with the current large-scale museum projects of Qatar, Saudi Arabia and Abu Dhabi, and suggests a more contextual approach to design. In addition to the archaeological exhibits, the permanent exhibition space includes an ethnography section and a hall featuring works by some of Bahrain’s leading artists. It has been 25 years since the museum opened, and to mark this milestone the Ministry of Culture has announced plans to update the museum and its collections. 13{ }^{13}

Rather than moving away from the earlier vernacular traditions, the new Qal’at al-Bahrain Site Museum combines these traditions with contemporary Scandinavian techniques and expertise. Opened in 2008, the 2,000-square-metre (21,500-squarefoot) museum is situated to the north of the Qal’at al-Bahrain fort, which was inscribed as a UNESCO World Heritage Site in 2007. 14{ }^{14} Excavations around the fort have revealed residential, public, commercial and military structures that testify to the importance of the site. The museum supplements the Bahrain National Museum by displaying artefacts from the site dating from 2500 BC to the present day. It was designed and developed by Copenhagen-based Wohlert Arkitekter in collaboration with COWI Consulting. In contrast to large-scale museum projects throughout the Gulf, the Qal’at al-Bahrain Site Museum retains the ‘scale of traditional buildings in Bahrain’. 15{ }^{15} It is designed to enhance visitors’ experience of the site by providing tourist facilities and a series of pathways along the waterfront leading to the fort. Inside the museum are five halls organised around a 30-metre (100-foot) tell wall, which is representative of the fort’s position atop a 17.5-hectare (43.2acre) artificial hill (the tell). Incorporated within the tell wall is a re-creation of the site’s archaeological layers that includes 500 artefacts illustrating the history of its settlement.

By drawing influence from local vernacular form and the country’s archaeological past, Bahrain’s museums are used to position the kingdom as a powerful centre in the region and to reinforce the importance of its continued role as a contemporary trading hub.

Abu Dhabi: Architecture and Global Imagining Abu Dhabi’s global aspirations are apparent from the way in which it has chosen to work with well-known international institutions and ‘starchitects’ to develop iconic museums to house international collections and exhibitions. The government’s strategic plan aims to develop Abu Dhabi into a global city by investing in key industry sectors and urban and cultural development. 16{ }^{16} In 2004, the Abu Dhabi Tourism Authority announced plans to develop Saadiyat Island into a tourist destination with the Cultural District as its centrepiece. Plans for the Cultural District include the Louvre Abu Dhabi, the Guggenheim Abu Dhabi, the Zayed National Museum and the Performing Arts Centre. The Maritime Museum will be the only museum set apart in the Saadiyat Marina District.

The Louvre Abu Dhabi is the result of a bilateral agreement between the UAE and France that solidifies the cultural relations between the two nations. The 24,000-squaremetre (258,300-square-foot) museum is being developed with the expertise of both the Musée du Louvre and Agence FranceMuséums, and is expected to open in December 2015. The design is representative of a ‘museum city’, referencing how architect Jean Nouvel has positioned the collection of buildings, ponds and landscaping in a similar way to that of an ancient city. 17{ }^{17} The 180-metre (590-foot) geometric lace dome is inspired by the interlaced palm leaves traditionally used as roofing material that will allow light to filter into the museum.

The Guggenheim Abu Dhabi is being developed in collaboration with the Solomon R Guggenheim Foundation and is expected to open in 2017. Designed by architect Frank Gehry, it is set to be the largest museum in the Cultural District, containing 13,000 square metres ( 140,000 square feet) of gallery space in what is described as a ‘monumental pile of gallery boxes’. 18{ }^{18} Eleven cone-like structures will provide a further 18,000 square metres (194,000 square feet) of exhibition space. Gehry drew his inspiration from the region’s ancient wind towers that both ventilate and shade the museum’s exterior courtyards.

Museum branding is a key element within the development of both the Louvre Abu Dhabi and the Guggenheim Abu Dhabi. However, the balancing of local and franchised heritage is an important issue and one that is partly addressed by incorporating local elements within the architectural design that are used as iconic features to promote the projects to global audiences.
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Foster + Partners, Zayed National Museum, Saadiyat Cultural District, Saadiyat Island, Abu Dhabi, UAE, due for completion 2016

Rendering showing the wing-like towers, which are intended to make a visual reference to the traditional practice of falconry within the UAE.

Frank Gehry, Guggenheim Abu Dhabi, Saadiyat Cultural District, Saadiyat Island, Abu Dhabi, UAE, due for completion 2017

Rendering of the proposed museum illustrating the arrangement of individual masses that contain the gallery spaces.

The Zayed National Museum will form the centrepiece of the Cultural District, focusing on the life of Sheikh Zayed bin Sultan al Nahyan, ruler of Abu Dhabi and President of the UAE from its founding in 1971 to his death in 2004. 19{ }^{19} Designed by Foster + Partners and developed in consultation with the British Museum, the Zayed National Museum is scheduled to open in 2016. It will house seven permanent galleries exploring the history, heritage and culture of the UAE. One of the central themes is falconry, which is reflected in both the symbolism of the architecture and the content. Five towers, made of lightweight steel, resemble the wings of a falcon rising from a constructed mound. The museum will also maintain falconry traditions by including a falcon conservation centre. 20{ }^{20}

The Maritime Museum will be built on the shoreline of Saadiyat Island’s Marina District. Designed by Tadao Ando, the architecture provides a symbolic link between the sea and the land. Its rectangular box shape features a central arch, cut diagonally by a hyperbolic paraboloid curve 21{ }^{21} framing a dhow (traditional regional sailing boat) floating on the water beneath the building. Although few details have been released, the focus on the UAE’s seafaring history 22{ }^{22} illustrates, along with the Zayed National Museum’s inclusion of falconry, the way in which the national museums are using traditional and intangible aspects of the UAE’s past within the construction of global architectural forms.

The discourse that surrounds the museums in Abu Dhabi suggests that the aim is not just to create museums, but icons through the use of internationally renowned architects and global museum brands. This approach reflects the UAE’s continuing efforts to negotiate its transnational and cosmopolitan identity.
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Ateliers Jean Nouvel,
Louvre Abu Dhabi,
Saadiyat Cultural District,
Saadiyat Island,
Abu Dhabi, UAE,
2015
Rendering of the proposed museum showing how the domed roof filters light through patterned surfaces that make reference to traditional Arabian architecture.

Museums as Agents of Identity-Making in the Gulf

This brief discussion of selected museum projects in the Gulf illustrates how the architecture of museums, their emphasis as reflected in the collections, and their management are being consciously developed by the Gulf states to assert distinct national identities and roles within the region. In Qatar, museum architecture and collections present the nation’s history and Islamic roots as key aspects of its contemporary identity, with the aim of establishing the country as a major cultural player in the region. For Saudi Arabia, museum development is being used to reinforce its importance within the Islamic world. Although developed for national and regional tourists interested in the cultural heritage of Saudi Arabia, the global architecture transcends national boundaries and region-specific references. In Bahrain, museums have been used to showcase the nation’s cultural heritage since the opening of the Bahrain National Museum in 1988. More recently there has been a conscious shift towards using the existing National Museum and the new Qat’at al-Bahrain Site Museum to convey the country’s historical importance. Although its economic and political role has been established for some time, Abu Dhabi is now positioning itself as a global centre by constructing a cosmopolitan identity through museum architecture and collections that are transnational in scope. In sum, contemporary approaches to museum development in the Gulf reflect attempts to negotiate national, regional and international identities, and the buildings designed by architects from across the world reveal aspirations for global recognition. Δ\Delta

Notes

  1. One of the earliest known museums is the Kuwait Museum which opened in 1957 and closed in 1983. In Qatar, the National Museum of Qatar opened in 1975 (in 2004 it closed for refurbishment). In Bahrain, the Bahrain National Museum opened in 1988. In the UAE, the Al-Ain Museum opened in 1969 in Abu Dhabi, the Dubai Museum in 1971, and the Fujairah Museum in 1970. In Saudi Arabia, the Museum of Archaeology and Ethnography opened in 1978 and later closed in 1999. Finally the Oman Museum opened in 1974. 2. Qatar Museums: www.qm.org.qa/en. 3. ibid.
  2. Gehry Technologies, National Museum of Qatar Project Summary: www. gehrytechnologies.com/sites/default/files/ images/National-Museum-of-Qatar.pdf. 5. ibid.
  3. www.qma.com.qa/en/collections/national-museum-of-qatar.
  4. www.mix.org.qa/en/about/the-museumbuilding.
  5. ‘National Museum of Qatar by Jean Nouvel’, Daseen, 24 March 2010: www. dezeen.com/2010/03/24/national-museum-of-qatar-by-jean-nouvel/.
  6. Moriyama & Tashima Architects, ‘The National Museum Saudi Arabia: A Case Study’: www.mtarch.com/ mtassanmcasestudy.html.
  7. Geoffrey Bibby, Looking for Dilmun, Stacey International (London), 1996. 11. Rachel MacLean and Timothy Insoll, An Archaeological Guide to Bahrain, Archeopress (Oxford), 2011.
  8. Ministry of Culture, Bahrain National Museum: http://www.moc. gov.bh/en/VisitingBahrain/Destinations/ BahrainNationalMuseum/.
  9. Sylvia Smith, ‘Bahrain National Museum Expands Horizons’, BBC News, 23 January 2014: www.bbc.com/news/world-middle-east-25733814.
  10. Wohlert Arkitekter, Qat’at al-Bahrain: www.wohlertarkitekter.com/qalat-al-bahrain/. 15. Ministry of Culture, Qat’at al-Bahrain site and museum: www.moc.gov.bh/en/top10/ Name_7516.en.html.
  11. Abu Dhabi Urban Planning Council, ‘Capital 2030’, Plan Abu Dhabi 2030: Urban Structure Framework Plan, 2007: http://www. upc.gov.ae/abu-dhabi-2030/capital-2030. aspx?lang=en-US.
  12. Tourism Development Investment Corporation, ‘Outside the Museum’: www. saadiyat.ae/en/cultural/louvre-abu-dhabi1/ louvre-abu-dhabi-architecture-outside.html. 18. Tourism Development Investment Corporation, ‘Inside the Museum’: www. saadiyat.ae/en/cultural/guggenheim-abu-dhabi1/architecture2.html.
  13. Tourism Development Investment Corporation ‘Overview’: www.saadiyat.ae/ en/cultural/zayed-national-museum/znm-overview.html.
  14. See also Sarina Wakefield, ‘Falconry as Heritage in the United Arab Emirates’, World Archaeology, 44(2), 2012, pp 280-90. 21. Emmanuel Petit, ‘The Gate of Creation: Tadao Ando’s Design School in Mexico’, Architectural Review, 4 November 2013: www.architectural-review.com/buildings/the-gate-of-creation-tadao-andos-design-school-in-mexico/8654552.article.
  15. Tourism Development Investment Corporation, ‘Inside the Museum’, op cit.

Text © 2015 John Wiley & Sons Ltd. Images: pp 20-1, 26 © TDIC; pp 22 © Ateliers Jean Nouvel; p 230) © Ludovic Maisant/Hemis/ Corbis; p 23(b) © Moriyama & Tashima Architects; p 240) © Philip Lange/Shutterstock; p 24(b) © Wohlert Arkitekter AS, photo Loredana Mantello; p 27 © Ateliers Jean Nouvel, Artefatory, TDIC, Louvre Abu Dhabi