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Qasr Al- Hukm District Development: Qasr Al- Hukm Downtown

Metro Station

1. Abstract

This paper studies the impact of globalization on architecture through its great influence on society

and culture, economy and politics. It shows how cities are changing their identity to follow the

polemics of globalization and attract global tourism and investment. To study the impact of

globalization on architecture, public buildings designed by international starchitects should be studied

as one sub-phenomenon associated with the large phenomenon of globalization. Architectures

designed by the international starchitects adhering to the global image tend to detach itself from the

circumstances of the local context creating a schism between the building and its immediate context.

The Middle East countries are largely affected by globalization which results in changing their

architecture identity and restructuring its urban structure by rather imitating the architecture

extravaganza of neighboring emergent global cities. Saudi Arabia is one of these countries that are

reshaping their urban tissue in order to create a remarkable new image for the city. As an investigation

tool, this paper aims to study the development of Riyadh downtown taking Qasr Al- Hukm Metro

station as a case study to explore how the High Commission of the Development of Arriyadh

integrated the local with the global without compromising the integrity of both.

Keywords: Globalization, Starchitects, Architecture, Local Culture, Downtown Development,

Riyadh, Qasr Al- Hukm Metro Station.

2. Introduction Riyadh city is the capital of the kingdom of Saudi Arabia, and the largest in the kingdom in term of

area and number of population. During the past decades, the city of Riyadh is repositioning itself on

the global map as a global capital through erecting international architecture and urban schemes. But,

while the rapid urban growth of the city continues to be a subject of debate, little attention has been

paid to the nature of change and intervention in the old city core.

This research focuses on the phenomenon of global architecture adopted and built in local context

by international architects. In order to contextualize the phenomenon and better understand its

contingencies, the research will study the urban development of Qasr Al- Hukm District Development

by studying the condition of major neoliberal urban restructuring and transformation of the other Arab

cities including Beirut, Amman, Cairo, Dubai, Doha and Tunis.

2.1 Hypothesis

The building of the Qasr Al- Hukm metro station designed by Snohetta in inspired by the local

context of Qasr Al- Hukm District (Riyadh Downtown).

2.2 Research Question

Is the building of the Qasr Al- Hukm metro station designed by Snohetta in inspired by the local

context of Qasr Al- Hukm District (Riyadh Downtown)?

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3. Literature Review

3.1 Globalization And Architecture

Nations, cities and regions are facing great

challenges as a result of globalization. Globalization

is the process of international incorporation of

different communities all over the world socially,

economically and politically. The term

“globalization” was first coined in the latest half of

the 20th century, but the expression and its concepts

did not penetrate the popular consciousness until the

latest half of the 1980s (Eldemery, 2009). It is used in

many different contexts, by many different people,

for many different purposes. Some commentators

describe globalization as ‘high-modernity’ and the

realization of the ideals of the Enlightenment while

other commentators believe it to be a new

phenomenon of equal but different significance from the Enlightenment (Adam, 2008). According to

Giddens, “globalization is the intensification of worldwide social relations linking distant localities in

such a way that local happenings are shaped by events occurring many thousands of miles away and

vice versa” (Eldemery, 2009, p.344). Jürgen Habermas, on the other hand, summarized globalization

as:” The cumulative processes of a worldwide expansion of trade and production, commodity and

financial markets, fashions, the media and computer programs, news and communications networks,

transportation systems and flows of migration, the risks engendered by large-scale technology,

environmental damage and epidemics, as well as organized crime and terrorism” (Adam, 2008, p.74).

Furthermore, The Encyclopedia Britannica defines globalization “as the process by which the

experience of everyday life is becoming standardized around the world” (Adam, 2008, p.74).

In architecture, the historical development of

globalization corresponded very closely to the

dominance of Modernism. In 1919 Walter Gropius

said, “One day there will be a worldview, and then

there will also be its sign, its crystal architecture”

(Adam, 2008, p.75). In 1932, many architects argued

that the modern age is a representation of new

architecture that response to the new industry,

technologies, mobility, and social and political

orders. Thus “International Style” was born by the

German architects: Walter Gropius, Mies van der

Rohe, and others (Eldemery, 2009).

Currently, global architecture is best served by two sources: the culture of commerce and the

culture of design. The global culture of commerce is driven by changing market opportunities,

consumer expectations, and business agendas. In architecture they are presented through iconic, chains

Figure 1: Buildings before the effect of globalization

(Horton, 2014).

Figure 2: Buildings after the effect of globalization

(Horton, 2014).

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of standardized hotels, sky-scraping banking towers, restaurants, and shopping malls. The global

culture of design is presented through studying and analyzing different architects work. By elegant

photographs in magazines and journals, trend-conscious designers can scan and span the globe,

sharing high-style concepts rendered in modern materials. Glass, stainless steel, aluminum, copper,

titanium, and natural stone are available. If they cannot be obtained locally, they can be imported

(Oncu and Weyland, 1997).

To study more about the impact of globalization on architecture, we should study the phenomenon

of global starchitects as one sub-phenomenon associated with the large phenomenon of globalization.

As cities, now compete to attract global tourism and global investment, they look for brand

differentiation and symbolic modernity. The phenomenon of public buildings by starchitects is now an

established marketing technique. The buildings must be extraordinary and designed by a global

starchitect who may not have a comprehensive and critical understanding of the different formative

layers of cities’ built environment.

3.2 Starchitects

Starchitect is a term used to describe architects

whose fame has transformed them into idols of the

architecture worldwide which necessarily gives them

major privileges in the field. To mention few there is:

Zaha Haddid, Franck Lloyd Wright, Franck Gehry,

Mies Van Der Rohe, Peter Eisenman, Louis Khan,

Daniel Libeskind, Norman Foster, Rem Koolhaus,

Santiago Calatrava, Jean Nouvel and Renzo Piano.

These architects published large sensation by playing

with surfaces and materials to sway the viewer

(Adam, 2009). The status of these architects is so

great and their presence is so highly acknowledged

for students, lectures, juries, competitions, teaching

posts, master classes, interviews and conferences. In

the case of cities, the situation is much complicated and intertwined as a starchitect may be

commissioned a building design only because, in the context of compete among cities, the building

should be an iconic global product that allocates the city on the global map with little to no attention

being paid to local context.

As a result of the global practices of the

starchitects, nowadays, a successful city is identified

by the design type and style of the buildings, even

before they are built. Being limited in numbering the

request for the extraordinary and symbolic buildings

is beyond the capacity of the star group to provide

their own designs, however conceptual meanings

their designs may carry. The global commercial firms

are reproducing the conceptual meaning of the design

characteristics of the star product such as; the spiral or

Figure 3: Global Starchitects (Nguma, 2015)

Figure 4: Guggenheim Museum in Bilbao, by Franck

Gehry (Adam, 2008)

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twisted forms, globular glass, planar intersection and

so on, to develop and reproduce their concepts. This

effect is reflected positively on the high status of the

starchitects within the architectural profession and

has affected architecture more generally than the

global origins of the star product. This new

architectural image has been named as

‘Supermodern’ by the Dutch critic Hans Ibelings

when he states: “For this architecture the

surroundings constitute neither legitimation nor

inspirations for these are derived from what goes on inside the building, from the program. This

autonomy is in many cases reinforced by the fact that the building has an inscrutable exterior that

betrays nothing of what happens inside. In many instances these buildings look as if they might house

just about anything: an office or a school, a bank or a research centre, a hotel or apartments, a

shopping mall or an airport terminal” (Ibelings, 1998, p.104).

Supermodernism is a postmodernism, a high tech-inspired aesthetic movement that reacts against

the heavy-handed ’80s-era promotion and deconstruction. This movement transfer places that are

made up out of social interactions between people to a non place with a meaningless environment that

we pass through during our solitary lives. These non-places, are expression of ‘In the age of

globalization’, and with the fall of time and space, everything can happen everywhere and anywhere,

thus undermining of the postmodern confession that architecture must have a unique, authentic

relationship with its context, of identity and meaning (Ibelings, 1998).

Today, cities have changed from mass and weight, iron and stone buildings to a media –scape of

office buildings and stores with glass and light logos that contain different meanings and expression

than the identity of the local culture.

3.3 Cities Urban Development

In the last thirty years, the Middle East has faced a building boom the scale of which is unparalleled

in the world today, but whose impact in the society and the environment remain largely unknown.

Many researches are done on the rise of urbanism in the Middle East counties such as; Beirut, Amman,

Cairo, Dubai, Abu Dhabi, Doha and Tunis. These Middle Eastern cities are competing to attract

international investments, businesses and tourism development. In this part, the paper will be focusing

on the urban development of the two cities; Dubai and Beirut, which have attracted attention for the

significant changes in their social, economical and physical dimensions, and whose development are

characterized by traits that are shared by other cities in the region.

3.3.1. Dubai

An outstanding example in the world is Dubai; Dubai urban development has been shaped through

different periods of economic growth transforming from pre-industrial to industrial and post-industrial

society in fifty years (Pacione, 2005). Dubai has involved in a process of urban generation and

property development in its development strategy as two key indicators of development. In order to

Figure 5: Sydney Opera House in Australia, by Jorn

Utzon (Adam, 2008)

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create a remarkable new image for the city, iconic architectures such

as Burj Khalifa, Burj Al Arab, and global scale mega-projects such

as Palm Jumeirah are being constructed and are symbolizing the

national identity. As the urban development has been shaped by

mega projects, the spatial incorporation of these new projects within

the urban layout becomes critical.

In the 20th

century, Dubai branched into three distinct areas. Deira

is the largest and the main commercial centre. On the western bank,

Bur Khalifa and Al Shindagha are separated by a wide stretch of sand

called Ghubaiba. Al Shindagha, situated on a narrow strip of land

detaching the sea from the creek, is a small area and a main

residential district, while Bur Khalifa is the smallest settlement. In

late 1950s, a master plan was prepared for Dubai development with a

new road system, town centre and zones of different land use areas.

In 1963, the first bridge was constructed across Dubai Creek, and

most of the urban development started to take place around the

district of Deira. Since the formation of the United Arab Emirates,

Dubai has expanded toward the east. Therefore, much of the urban

development has stretched incoherently on the outer edges of the city

and along the road to Abu Dhabi, transforming the city into a linear

one (United Nations, 2005).

In the 21st century, The Dubai Urban development

plan was prepared to guide the social, economical

and physical development of the city. One of the key

challenges of the plan was activating cooperation

between public and private agencies in their

investments. The dynamics of the plan represented a

spatial framework for urban growth by dividing the

city's sectors according to their specific functions and

programs, and incorporate scales that range from

super blocks to land-use zones. This concept results

in having a series of ‘cities within the city’ mega-

projects. These cities underscore Dubai’s drive to

attract high-skilled professionals from diverse fields

such as; healthcare, information technology and

finance. It also attracts foreign investors that lead to a

rise in the real estate market (Pacione, 2005).

3.3.2. Beirut

The Beirut Central District was demolished during the Lebanese War which extended from 1975 to

1990. Unable to reconstruct the center city, the Lebanese government turned to private Real Estate

Company known by SOLIDERE, to take over the task of reconstruction. In 1994, the Beirut

downtown reconstruction project fashioned by SOLIDERE was presented to the public as the main

Figure 6: Burj Khalifa in Dubai,

by Adrian Smith (Pacione, 2005)

Figure 7: Dubai Urban Development Master Plan ,

Showing The Palm Jebel Ali, The Palm Jumeirah, The

World Island and The Palm Deira

(United Nations, 2005)

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post-war reconstruction effort. Environmentally, the

SOLIDERE was positive in resolving the problem

that had been created by the dumping site on Beirut

Central District coastline, which extended over an

area of 250,000 square meters and a height of 14

meters. The landfill was treated and integrated into

the project to be transformed into development land,

comprising a promenade, two marinas and a public

park covering 80,000 square meters (United Nations,

2005).

During the reconstruction of Beirut Central District,

many buildings that are left from the war were destroyed.

Researches on the city center showed that the amount of

buildings demolished after the war exceeded the amount

destroyed during the war. Hotel St. Georges, the Shams

Building, the Pan American Building, or the various

cinemas and cafes on Hamra Street were all destroyed by

the government in order to have a new modern district.

Such practices are necessarily in leading to the destruction

and disfiguring of the valuable heritage that once

represented a true certification to the region’s temporal

depth and crucial public sphere (Daher, 2009).

4. Case Study

4.1 Qasr Al- Hukm District Development (Riyadh

Downtown Development)

The speedy urban development of Riyadh in the past

decades motivated the residents to move from the

downtown to the other parts of Riyadh that causes incline

in the urban uses there. This condition has encouraged

immigrants to settle in Riyadh downtown and replace the

residential units with warehouses that are used for their

commercial activities because of the low rent prices that

accompanied with the deterioration of the area's urban

situation. Accordingly, the main functions of Riyadh

downtown were negatively affected. Although, the region

still has strengths and chances that can ensure success of

development efforts that meet the future view of the city

(High Commission for the Development of Arriyadh,

2013).

Figure 8: SOLIDERE Project in Downtown Beirut

Showing the Cafes and Restaurants with Tourists

Who Could Afford Such Expensive Places.

(Anonymous, 2011)

Figure 9: A View of Hotel St. George in Beirut

Representing the Heritage of Modernity in

Beirut, and Also Symbol against SOLIDERE

(Daher, 2009).

Figure 10: A View of the Urban Development

of Riyadh City Showing Al- Mamlakah and

Al- Faisaliah Tower (High Commission for the

Development of Arriyadh, 2013).

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Since 1976, the High Commission agreed on the

development programs that were prepared to

transform Qasr Al- Hukm District into a culture

center, national historical and administrative. These

programs where divided into three phases:

1. Phase one: In 1979, designs of Riyadh

Governorate, Municipality and Police

Headquarters Buildings were ready. The

construction works in these facilities began in

1983 and was completed in 1988 (High

Commission for the Development of Arriyadh,

1992).

2. Phase two: started in 1988 after completion of the

architectural and engineering design. This phase

was completed in 1992 and included Imam Turki

bin Abdullah Mosque, Qasr Al-Hukm, Al-Adl Plaza, Assafah Plaza, Imam Mohammed bin Saud

Plaza, Al-Musmak Plaza, Al-Thumairi Gate, and Dekhna Gate, Ad-Deerah Tower, sections of the

city old wall, as well as public service networks, internal and surrounding road network, and

commercial and office buildings (High Commission for the Development of Arriyadh, 1992).

3. Phase three: This phase focused on winning confidence of the private sector to be actively

involved in the development process. This phase covers an area of 320,000 m2 that includes about

60% of the total area of Qasr Al-Hukm District. During this phase, headquarters of some

institutions were constructed like the High Court, Civil Defense, Sheikh Muhammad bin Ibrahim

Al Alsheikh Mosque, Dekhna Plaza, Az-Zall Souq, and modern seven commercial complexes

(High Commission for the Development of Arriyadh, 1988).

Qasr Al-Hukm District Development Program

represents an outstanding success in exposing traits of the

past in a modern way. The High Commission for the

Development of Arriyadh was keen on highlighting the

originality of the area, which represents the historical

heart of the city.

The development program is not only

limited in the development of the buildings,

but the transportation system has a very

large part in the development process. An

incorporated plan for transport development

has been put in place, and it includes

rehabilitation of the roads surrounding the

area to form a ring road, in addition to building new internal roads (High Commission for the

Development of Arriyadh, 1988).

Figure 11: Qasr Al- Hukm District, the Center of the

City of Riyadh (High Commission for the

Development of Arriyadh, 1988).

Figure 12: Master Plan Showing the Development Phases of

Qasr- Al Hukm District (High Commission for the Development

of Arriyadh, 1988).

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The plan also includes construction of tracks for a

planned public transport system (metro/bus routes

and stations), while the local intersections, pedestrian

walkways and car parks are going to be renovated.

The area will host a main metro station designed by

Snohetta that connect two main metro lines; Al-

Olaya-Al-Batha line and Al-Madinah Al-Munawarah

line (High Commission for the Development of

Arriyadh, 0251).

4.2 Qasr Al- Hukm Downtown Metro Station

Qasr Al- Hukm Downtown Metro Station will be

an icon for the renaissance of the city of Riyadh. The

station is inspired from the idea of merging between

traditional character and modern design, to form a

focal point and a center to highlight Qasr Al- Hukm

district. It is located in the middle of Qasr Al- Hukm

District and adjacent to many historical landmarks,

such as: Qasr Al- Hukm, Imam Turki bin Abdullah

Mosque, Al- Masmak Fort, Sheikh Mohammed bin

Ibrahim Mosque and Al- Zol Market, and will be

established on an area of 47,646 square meters, with

seven floor plans at a depth of 33 meters (High

Commission for the Development of Arriyadh,

0251).

The station is designed as an urban plaza with a

large canopy that provides shade to the surrounding

public spaces and channeling daylight down to the

underground train station. The polished stainless

steel canopy functions as a landmark that signals the

station's entrance. It was designed in a sustainable

level of: environmentally sustainable in water

conservation, daylight harvesting, providing energy,

natural shading and ventilation; economically

sustainable in providing a functional public transport

in a densely populated district to reduce traffic

congestion, and socially sustainable in providing a

vibrant public space with a lot of palm trees and a

mosque (Snohetta, 2012).

Figure 13: A Site Showing Qasr Al- Hukm Metro

Station Location, and how it is Connecting the Blue

and Orange Lines Together (High Commission of the

Development of Arriyadh, 2015).

Figure 15: A Perspective Showing the Stainless Steel

Canopy Metro Station, the Public Plaza and the

Mosque Minaret (Snohetta, 2012).

Figure 14: A Site Plan of Qasr Al- Hukm Metro

Station and the Mosque (High Commission of the

Development of Arriyadh, 2015).

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Through the stainless steel reflective canopy, the levels of

the metro are visually linked, reflecting the outside inwards

and the inside outward. The canopy sits on a large sloping

wall that carries the indirect light to the underground levels,

while this wall is acting as a unifying element and reference

space in the building. The two metro lines extend through

this void space in glazed tubes, giving them a strong clarity,

presence and sense of way-finding (Snohetta, 2012).

The central atrium features a garden that can be accessed

from the underground levels of the station. The Red line

platform and the Blue line platform provide an access to the

garden, allowing the passengers to wait for their train while

seated in the shaded lush garden. The inside surface of the

canopy is covered with a daylight harvesting system.

Daylight is channeled to light fittings in the underground

levels through fiber optic cables. In this method, lighting

can be maintained during the day time without consuming

energy and without bringing heat into the building

(Snohetta, 2012).

The public plaza is given a human scale through

the planting of palm trees in a linear pattern

following the direction of the mosque and Mecca.

The planting pattern of the palm trees is used to

provide shadow to the plaza. Irrigation channels

scheme the plaza floor, they serve as a flood-and-

drain watering system for the trees, and as a water

feature during the day (Snohetta, 2012).

In addition to the transportation service

provided by the station, it also include public

parking for 550 car, ticket sales outlets,

commercial services, shops, restaurants and cafes,

sites for investment and customer service offices

(High Commission for the Development of

Arriyadh, 0251).

The station will be provided with advanced

surveillance systems, which include surveillance

cameras and early warning systems, fire fighting

systems, tunnel safety systems and a

communication system that supports real-time

Figure 16: A Perspective Showing the

Atrium and the Canopy Resting on the Large

Slanted Wall, this Wall is Designed with

Triangular Patterns from the Saudi Heritage

(Snohetta, 2012).

Figure 17: A Perspective of the Public Plaza with the

Surrounded Buildings and Humans (Snohetta, 2012).

Figure 18: The Drawings Shows The Different Elements of

the Project and the Levels of the Station. The Station

Consists of Five Under Ground Levels, the Blue and Orange

Lines, Commercial Offices and Car Parking (High

Commission of the Development of Arriyadh, 2015).

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communication with the Control & Operation Center and the competent security authorities. The trains

will run automatically (without a driver) and a central control rooms will be used to operate and

monitor trains with high precision. These trains are separated internally to accommodate different

service classes in addition to the family class. The cars also support the communication and

information exchange services (High Commission for the Development of Arriyadh, 0251).

Oasr Al- Hukm Metro Station is one of four main

metro station designed by starchitects such as; Al-

Olaya Metro Station designed by Gerber

Architekten from Germany, King Abdullah

Financial (KAFD) District Metro Station designed

by Zaha Hadid Architects from the UK and

Western Metro Station designed by Omrania &

Associates. In addition to the four main metro

stations, Riyadh Metro project includes the

establishment of 41 sub-metro stations where a

number of network paths meet, and are designed

on several levels with a global architectural designs

(High Commission for the Development of

Arriyadh, 0251).

The High Commission of the Development of

Arriyadh worked on a transportation plan for

meeting the existing and future transportation

needs of Riyadh city and keeping up with its

continuous population growth. According to

studies done by the High Commission for the

Development of Arriyadh, the population of

Riyadh is expected to rise from 5.7 million in 2012

to more than 8.3 million by 2028 with city urban

expansion already reached 1297 km2 in 2012; this

would mean heavier and longer traffic in the future

(High Commission for the Development of Arriyadh, 0251).

5. Conclusion

To conclude, Saudi Arabia is challenging other Arab cities such as; Dubai, Manama, Doha and

Beirut in its architecture and urban development in order to reposition itself as a global city. Riyadh as

a capital of the country, the High Commission of the Development of Arriyadh planned to transform it

to historical, economical, cultural and administrative center to attract global tourism and investments.

A new transportation system was added to the plan of development that includes Metros and Buses

that will connect the city’s part together. The metro stations of the Riyadh Metro Project where

designed by international Starchitects in order to give the city a global image and show the

development of the city. But we need to know if we are distorting the urban tissue of the city? And to

what extend the Saudi culture will accept these changes to reach the globalization?

Figure 19: A Map Showing the Metro’s Paths and the

Locations of the Metro Stations (High Commission of

the Development of Arriyadh, 2015).

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http://www.archute.com /2015/08/03/40-famous-architects-of-the-21st-century/ Archute. (2015).

Accessed November 28, 2015

Oncu, Ayse, and Petra Weyland. Space, Culture and Power: New Identities in Globalizing Cities.

London and New Jersey: Zed Books, (1997): 1- 224. Annotation: Ayse Oncu and Weyland Petra book looks at how ethnic minorities, tribal groupings and

marginalized subcultures in urban areas appropriate contemporary discourses - of consumerism, Islam, human

rights - to voice new cultural alternatives. Through a variety of cities, including Beirut, Berlin, Cairo, Istanbul,

Manila and Singapore, it explores how social and cultural boundaries are renegotiated as new social networks of

global trade and finance create new opportunity spaces. In doing so, the authors demonstrate how the global is

translated by different groups of urban actors into practices which transform the physical as well as social and

cultural spaces of the city.

Pacione, Michael. "City Profile: Dubai." Cities 22, no. 3 (2005): 255–265. Doi:10.1016/j. Annotation: Michael Pacione article mention the development status that Dubai has passed through from pre-

industrial to industrial to post-industrial status. Change is evident in the economic, social and cultural

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characteristics of the city and, most visibly, in the scale, pace and nature of urban development. The paper

identifies the key forces and processes underlying the transformation of Dubai from an insignificant fishing

settlement on the Arabian Gulf to a cosmopolitan regionally significant twenty-first century city.

Snøhetta, Riyadh Metro Station. http://snohetta.com/project/22-riyadh-metro-station. (2012).

Accessed November 28, 2015. Annotation: A website that represent the development stages of Qasr Al- Hukm Metro Station designed by

Snohetta, a Norway company that win the competition of King Abdullah Public Transportation Metro to design a

station which is located in the heart of Riyadh, Saudi Arabia.