The five projects selected for the 2010 Aga Khan Award for Architecture were announced at a ceremony held at the Museum of Islamic Art on the 24th of November 2010. His Highness Sheikh Hamad bin Khalifa Al Thani the Emir of Qatar and Her Highness Sheikha Moza bint Nasser joined His Highness the Aga Khan in presiding over the ceremony.
The five projects selected by the 2010 Master Jury are:
• Wadi Hanifa Wetlands, Riyadh, Saudi Arabia
• Revitalisation of the Hypercentre of Tunis, Tunisia
• Madinat Al-Zahra Museum, Cordoba, Spain
• Ipekyol Textile Factory, Edirne, Turkey
• Bridge School, Xiashi, Fujian, China
At the Award ceremony, His Highness the Aga Khan presented the Chairman’s Award to Professor Oleg Grabar in recognition of his lifetime contribution to the field of Islamic art and architecture. The Chairman’s Award was established to honour achievements that fall outside the scope of the Master Jury’s mandate and is made in recognition of the lifetime achievements of distinguished architects and academics. Past recipients of the Chairman’s Award have been Hassan
Fathy and Geoffrey Bawa. In the Awards night His Highness was reminiscent on the now three decade old award when in the 1970’s he had shown concern that this (architecture) dialogue was scarcely happening. “It is hard for me to believe that this Awards process is now a third of a century old! – and that it has involved some 3500 candidate projects and over 100 prize recipients. As we
complete the 11th cycle, I am delighted to extend to all of our recipients my warmest congratulations!” His Highness emphasized on how so little is known to the world about Islamic culture, art and architecture and that the Award has stimulated considerable progress and other endeavors with similar goals; he also questioned on what comes next? “As we look to the future, let me Anish Kapoor (Artist, UK) Kongjian Yu (Landscape architect and urbanist; founder and dean of Graduate School of Landscape Architecture, Peking University, China) Jean Nouvel (Architect; founding partner, Ateliers Jean Nouvel, France Alice Rawsthorn
(Design critic, International Herald Tribune, UK) Basem Al Shihabi (Architect; Managing Partner, Omrania & Associates, Saudi Arabia) The Aga Khan Award for Architecture not only rewards architects, but also identifies
municipalities, builders, clients, master craftsmen and engineers who have played important roles
in the realisation of a project. The Award’s mandate is different from that of many other architecture
prizes: it selects projects—from innovative mud and bamboo schools to state of the art “green”
buildings—that not only exhibit architectural excellence but also improve the overall quality of life.
Since the Award was launched 33 years ago, 105 projects have received the award and more than
7,500 building projects have been documented. The Award is governed by a Steering Committee chaired by His Highness
the Aga Khan. The current members of the Steering Committee are:
His Highness the Aga Khan (Chairman) Mohammad al-Asad (Founder & chairman, Center for the Study of the Built Environment, Jordan) Homi K. Bhabha (Director of the Humanities Center, Harvard University, USA) Norman Foster (Founder and chairman, Foster + Partners, UK) Glenn Lowry (Director, Museum of Modern Art, New York, USA) Rahul Mehrotra (Principal, RMA Architects, India) Mohsen Mostafavi (Dean of the Graduate School of Design, Harvard University, USA) Farshid Moussavi (Partner, Foreign Office Architects, UK) Han Tümertekin (Principal, Mimarlar Tasarim Danismanlik Ltd, Turkey) Farrokh Derakhshani is the director of the Award.
Publication: Implicate and Explicate A monograph featuring the projects of the 2010 Aga Khan Award, with essays by Mohammad Al-Asad, Farshid Moussavi, Mohsen Mostafavi, Hanif Kara and Oleg Grabar as well as members of the Award Master Jury was published by Lars Müller Publishers www.lars-mueller-publishers.com (November 2010). mention four principle areas of concern: the Islamic environment of our work, its relevant constituencies, the shifting social and economic scene, and the impact of new technologies.” In the panel discussion preceding the closing speech of His Highness the pluralism of the Award was greatly discussed. It was also agreed that the Award was evolving and that the Bridge Project that has won this year is an examplar on addressing issues of community needs and revitalizing an entire area with a simple yet effective built environment though not necessarily located in the Muslim Ummah. There was much discussion on heightened respect for both the traditions of the past and the conditions of the future, which His Highness summed up as: “The best way to honour the past is to seize the future.” He further concluded his speech on the four following aspects: “four of the major concerns that I would submit for further discussion. What does architectural excellence mean in the context of Islamic traditions and aspirations? How do we reach a wider array of constituents? Can we expand our social and economic relevance? And how do we best employ innovative technologies?” The answer to all His Highness believes lies in addressing these issues under the commandments of Quran that humankind must take responsibility for shaping and reshaping our earthly environment, the dialogue can continue, evolve and work for the betterment of mankind on the cultural level and built environment. The winning projects were selected by an independent Master Jury from a shortlist of 19 projects announced in May 2010.
A total of 401 projects were presented for consideration for the 2010 Award. In their statement, the Master Jury noted that a central concern in making their selection had been the issues of identity and plurality and their intersection in an increasingly globalised world. They emphasised the generous and pluralistic visions reflected through the winning projects, and the transformative roles they have played in the improvement of the quality of the built environment both in places with a majority of Muslims and in societies where Muslims are in a minority. The 2010 Master Jury comprised of the following:
Souleymane Bachir Diagne (Professor, Department of Philosophy, Columbia University, USA)
Omar Abdulaziz Hallaj (Architect; Chief Executive Officer, Syria Trust for Development, Syria)
Salah M. Hassan (Art historian and curator; director of Africana Studies and Research Center, Cornell University, USA) Faryar Javaherian (Architect and curator; co-founder of Gamma Consultants, Iran) Aga Khan Award For Architecture 2010 Winning Projects Bridge School Architect: Li Xiaodong (Atelier) Completed: 2008 Design: 2008 Site size: 240 m2 Project Description: The “Bridge School” bridges the two parts of the small village of Xiashi that lie on either side of a small creek that runs through the village.
The structure is created by two steel trusses that span the creek with the space between them housing the functions of the school. Suspended from the structure and running below it is a pedestrian bridge for the people of the village to use. Small and modern in design, with no reference to the area’s traditional building style, the school has nonetheless become the physical and spiritual centre of what was a declining village. Placed in such a way that it addresses its surroundings, the Bridge School connects the village together, providing a central, social space.The broader social aspect of the project was part of the brief,
through architectural intervention. Jury Citation “When architect Li Xiadong was asked to build a tiny school for a small village crossed by a river, he had the inspiration of placing it on a new bridge, near the spot where two ancient toulou – traditional fortress-like, circular structures – were erected on either side of the river. The very modern structure not only blends successfully into the landscape, it also succeeds in joining the bulky forms of the two historic structures through a linear lightweight sculpture that floats above the river. By placing the school on the bridge, underneath which the waters flow, the architect is giving the most important lesson a child can learn: life
which was developed with the school principal and head of the village to answer community needs rather than simply those of a primary school. A public library separates the two classrooms and the ends of each classroom, or the two ends of the school can be opened up, creating open stages at either end of the building that are integrated with the public spaces outside. The stage at the northern end can be used for performances, with the toulou as a backdrop. The result is a projectthat has successfully invigorated the entire community, encapsulating social sustainability
is transient, not one second of it similar to the next. The structure’s lightness and playfulness, and its naturalness, as though it had always existed in the landscape, appeals to the children, who use it as a big toy. These qualities, and the sense of security the children feel, all come from the excellence of the architecture, from the project’s concept to its smallest physical details. The Bridge School achieves unity at many levels: temporal unity between past and present, formal unity between traditional and modern, spatial unity between the two riverbanks, social unity between one- time rival communities-as well as unity with the future.” Li Xiaodong Atelier Li Xiaodong is a practicing architect, educator and researcher on architecture. He graduated from the School of Architecture at Tsinghua University (1984) and received his PhD from the School of Architecture, Delft/ Eindhoven University of Technology (1993). He established Li Xiaodong Atelier in 1997. His design work ranges from interiors and architecture to urban spaces. His work has won national and international design awards in China, Germany, the United States and the Netherlands. Li Xiaodong has received international recognition for his teaching, including an RIBA tutor’s prize (2000) and SARA tutor’s prize (2001) from the Department of Architecture at the National University of Singapore. He is currently chair of the architecture programme at the School of Architecture at Tsinghua University, in Beijing. His research and publications, including articles and books in both Chinese and English, cover a wide range of subjects: cultural studies, history and theory of architecture and urban studies. Project Data Client: Xiashi Village; Shi Xiu Qing, village head, China Local government of Pinghe County, Fujian; Hong Lizhuan, County Leader; Zhang Guoyang, Party Secretary; Zeng QingFeng, County Official, China Architect: Li Xiaodong Atelier: Li Xiaodong, principal architect; Li Ye,Chuan Wang, Qiong Liang, Mengjia Liu and Junqi Nie, project team, China Collaborator: Hedao Architecture Design, Xiamen, Fujian, China Project Manager: Chen Jiansheng, China Structural Engineer: Li Xiaodong (Concept); Hedao Architecture Design (construction drawing), China Contractor: Zhangzhou Steel; Minqbiao Ma, manager, China Built area: 240 m2 Site area: 1,550 m2 Building height: 6.5 m Cost US$: 100,000 Commission: 2007 Design: 2008 Construction: 2008 Occupancy: 2008 Website: www.lixiaodong.net Ipekyol Textile Factory Architect: Emre Arolat Architects Completed: 2006 Design: 2004-2005 Site size: 20’000 m2 Project Description The Ipekyol factory, a custom-designed facility for a manufacturer of high-quality textiles, represents a successful collaboration between a client and an architect in developing a spatial strategy that integrates production goals with the well-being of employees. Key design objectives focused on a single U-shaped volume that makes full use of the site as well as the use of local materials, reduced energy use, and enhanced thermal performance. The architect responded with a single, large structure where administration and production spaces were integrated under one roof, breaking down hierarchies between front- and backof-house functions. The form of the building conveys its function, its U-shape responding to the demands of the production line, from inception to the packaging and dispatch of the garments. The glazed southern facade, five internal courtyards, as well as gardens and light wells give each user access to natural light and views of nature, and the spaces also provide recreational areas for the workers. Jury Citation “The intelligent and imaginative design and engineering of the Ipekyol Textile Factory make it a role model of an efficient and pleasant working environment for any industry, and exceptionally so for the textile industry where such qualities are rare. The building combines functional efficiency with humanity to the commercial advantage of the client. Made mostly from local materials, it sits lightly on its plot. The high ceilings and internal courtyards maximise the flow of daylight and encourage natural ventilation, making the work spaces more agreeable as well as reducing energy usage and improving thermal performance. Water is collected from the roof and drained into the local system, but may eventually be recycled for use by the factory. Production and administration are housed within the same building, and are visible to each other, improving internal communications and fostering team spirit. At a time when the Muslim world is industrialising rapidly, and many countries, including Turkey, need to develop higher quality products to counter rising labour costs, the Ipekyol Textile Factory demonstrates how enlightened design can create a replicable blueprint of a cleaner, safer, more efficient workplace that can also achieve higher productivity and profitability.” EAA – Emre Arolat Architects EAA – Emre Arolat Architects was founded in May 2004 by Emre Arolat and Gonca Paşolar in Istanbul—a continuation of Emre Arolat’s architectural practices that started when he joined Arolat Architects as an Associate Designer in 1987. EAA – Emre Arolat Architects has a wide range of projects and a professional architectural staff in two different offices in Istanbul. The other partners in the practice are Neşet Arolat, Şaziment Arolat,
Kerem Piker and Sezer Bahtiyar. Emre Arolat was born in Ankara in 1963 and received his bachelor’s and master’s degrees in Architecture at Mimar Sinan University (1986 and 1992). He worked as an Assistant Architect at Metcalf and Associates Architectural Office in Washington
D.C. between 1986 and 1987, and as an Associate Designer and Senior Partner at Arolat Architects
(1987 to 2004). In addition to his architectural practice, he has taught architectural design
studios and served on project juries at several universities in Turkey. Project Data Client: Ipekyol Giyim Sanayi; Yalçın Ayaydın, Chairman, Turkey Architect: EAA – Emre Arolat Architects; Emre Arolat, Turkey Gonca Paşolar, Eda Yazkurt, Ertuğrul Morcol, Meltem Emden, Ekin Erik, Gulseren Gerede Tecim, project team, Turkey Contractor and structural engineer: Turin Turizm İnşaat ve Ticaret A.Ş.; Semih Cetin, Chairman, Turkey Mechanical engineer: Toptas Mekanik Tesisat Sanayi; Ali Toptas, Chairman, Turkey Electrical engineer: Truva Elektrik Makine Ltd. Şti.; Hüseyin Ors, Chairman, Turkey Built area: 20,000 m2 Cost: US$ 16.5 million Commission: 2004 Design: 2004-2005 Construction: 2005-2006 Occupancy: 2006 Website www.emrearolat.com Madinat Al Zahra Museum, Cordoba Spain Architect: Sobejano Architects S.L.P, Fuensanta Nieto & Enrique Sobejano Completed: 2008 Design: 2001-2003 Site size: 9’125 m2 Project Description The tenth-century palace city of Madinat al-Zahra is widely considered to be one of the most significant early Islamic archaeological sites in the world, and the most extensive in Western Europe. Excavations at the site are still ongoing. The museum was conceived as a place to interpret the site and display the archaeological findings, as well as to serve as a training and research centre and the headquarters of the archaeological team. A refined and subtle design by the architectural firm Nieto Sobejano, the museum complex blends seamlessly into the site and the surrounding farmland – a series
of rectangles composed of walls, patios and plantings which, taken together, seem more like
a landscape than a building. The architects took the ground plans of three excavated buildings as
a starting point, as though the museum had been waiting to be revealed from the ground. Visitors are guided through a sequence of covered spaces and voids. The main public functions are arranged in a cloister around a broad patio, a form found at the archaeological site and in the old town of Cordoba. Two more courtyards define the research centre and the external exhibition area respectively. A restricted pallet of materials and simple details, with walls of poured concrete, interior walls clad in iroko wood, and limestone paving for the courtyards, are intended to evoke the rough retaining walls and temporary structures of an archaeological site. Jury Citation “The Madinat al-Zahra Museum is a unique celebration of the link between museology and archaeology. It harmoniously and humbly blends into the landscape, understanding itself as serving the heritage being revealed in the site to which it is organically connected. This humility only adds to the powerful message it represents, one that is of particular significance in and for our times. Because the Madinat al- Zahra museum springs out of the soil and remains incorporated with it, it presents with superb architectural eloquence the spirit of an Islamic culture which was which is-indigenous to Spain and Europe, as it emanates from the ground itself, one of the region’s multiple roots. The Madinat al-Zahra museum is a symbol of the convivencia evoked by the name Andalusia and bears testimony that indeed, Cordoba is the future, not only the past.” Nieto Sobejano Arquitectos
Fuensanta Nieto and Enrique Sobejano trained as architects at the Escuela Técnica Superior de Arquitectura de Madrid (ETSAM) in Spain and the Graduate School of Architecture, Planning and Preservation at Columbia University in New York. They are founding partners of Nieto Sobejano Arquitectos, with offices in Madrid and Berlin. Fuensanta Nieto is professor at the School of Architecture of Universidad Europea de Madrid, and Enrique Sobejano is professor of architecture at the Universität der Künste Berlin. Both have been visiting critics and lecturers at several
international universities and institutions. From 1986 to 1991 they were directors of the architectural journal Arquitectura, edited by Colegio Oficial de Arquitectos de Madrid. Their work has been published in many international magazines and books and has been exhibited at the Biennaledi Venezia (2000, 2002 and 2006) and at the Museum of Modern Art in New York (2006). They have been awarded the Spanish National Prize for Restoration (2008). Nieto Sobejano Arquitectos recently completed the Moritzburg Museum in Halle (Germany); their projects under construction include the Contemporary Arts Center in Córdoba, Spain, and the Joanneum Museum in Graz, Austria. Project Data Client: Junta de Andalucía, Consejería de Cultura, Spain Architect: Nieto Sobejano Arquitectos, Spain: • Fuensanta Nieto, Enrique Sobejano, partners in charge of design; Miguel Ubarrechena, project architect; Carlos Ballesteros, Pedro Quero, Juan Carlos Redondo, project team Museological Concept and Programming Antonio Vallejo Triano, Director of Madinat al-Zahra Archaeological Site, Spain Content programming: Manuel Acién Almansa, Spain
Site supervisor: Miguel Mesas Izquierdo, Spain Structural Engineers: N.B. 35. S.L., Spain Mechanical Engineers: Geasyt S.A., Spain Exhibition design: Nieto Sobejano Arquitectos; Frade Arquitectos, Spain Museographic production: Empty, S.L., Spain General Contractors: Ecasur 10, S.A., Ejuca, S.A., Spain Built area: 9,125 m2 Site area: 53,897 m2 Cost: US$ 20.7 million Commission: 2001 Design: 2001-2003 Construction: 2005-2008 Occupancy: 2008 Website www.juntadeandalucia.es/cultura/museos/CAMA www.nietosobejano.com Bibliography Philip Jodidio, Architecture Now! Museums (Taschen, 2010) Revitalisation of the Hypercentre of Tunis, Tunisia Architect: Association de Sauvegarde de la Medina de Tunis (ASM) Completed: 1998-2007 ongoing Design: 1998-ongoing Site size: 60’000 m2 Project Description The nineteenth and early twentieth- century architectural heritage of North African cities embodies an important cultural exchange between the southern and northern Mediterranean. This heritage commonly lies adjacent to the old medinas, and has often been neglected in the drive to revitalise the historic centres of cities in this region. The Ville Nouvelle of Tunis, which was built when Tunisia was a French Protectorate, reflected a move from the urban patterns of the old medina to a grid plan that changed the character of the city. The urban revitalisation plan, devised and spearheaded by the Association de Sauvegarde de la Médina de Tunis (ASM), has restructured the public spaces of the area around Avenue Bourguiba and Avenue de France and made them chiefly pedestrian. It has also listed and restored key monuments, such as the Théâtre municipal de Tunis, Marché central, Ancien Tribunal administratif and Cinéma Palace, which are once again in use. The ASM continues to actively guide institutions and individuals in the public and private sectors who wish to undertake preservation projects, in order to ensure overall quality and meet the objectives of the many stakeholders. Jury Citation “The revitalisation of the late-nineteenth and early-twentieth century built heritage in the Hypercentre district-Bab B’Har-of Tunis, is an important and inspiring contribution to our changing understanding of the recent history of the Islamic world, particularly of the cultural legacy of the colonial era. The achievement of the Association de Sauvegarde de la Médina de Tunis (ASM) lies in preserving the important landmarks and facades of this period, which have been neglected and destroyed in many Muslim cities, and using them as the catalyst for an ambitious and eclectic economic regeneration programme. The project has not only created a lively and prosperous area, but fostered a richer, more nuanced understanding of Tunisia’s recent history, without disguising the nature of colonialism. Equally impressive is the process through which the ASM, a tiny, passionately committed organisation of modest means, transferred the technical knowledge gained in their earlier preservation of the old medina to the Hypercentre. The local community was consulted throughout to ensure that existing businesses would benefit from regeneration, and that the process would be sustainable. These goals were reflected in the innovative financing of the project, and in the training of local craftsmen to undertake the restoration work. During the colonial era, many Muslim countries were the focus of modernist experimentation, often by young European architects developing radical ideas. The sensitivity and ambition of the revitalisation of the Hypercentre in Tunis shows how the same Muslim countries can now play an equally innovative and influential role in the preservation of modern heritage.” Bibliography:
• Zoubeïr Mouhli and Justin McGuinness, under the direction of Sémia Akrout-Yaïche and Viviane Bettaieb, Médinances: Huit Visages de la Médina de Tunis (Tunis, 1998).
• Zoubeïr Mouhli and Justin McGuinness, under the direction of Sémia Akrout-Yaïche, Tunis, 1800-1950. Portrait architectural et urbain (Tunis, 2004).
• Jean-Baptiste Minnaert, Histoires d’architectures en Méditerranée XIXe-Xxe siècles. Ecrire l’histoire d’un héritage bâti (Paris, 2005).
• Mohamed Awad, Patrimoines partagés en Méditerranée. Eléments clés de la réhabilitation (Programme Euromed Heritage II; Alexandria Preservation Trust, 2005).
Association de Sauvegarde de la Médina de Tunis The Association de Sauvegarde de la Médina de Tunis (Association for the Preservation of the Medina of Tunis; ASM) was founded by the Tunis municipality in 1967. Its main purposes are to rehabilitate the image of the old city and to redefine the role of the old city within the urban agglomeration; to preserve the specificity and the unity of the historic city and to ensure its integration into the capital in order to prevent it from being marginalised. The ASM carries out its missions with the assistance of its architecture and planning unit and site team. In addition, the ASM serves as a meeting point and a research centre on urban, architectural and socio-economic aspects of the old medina of Tunis. The ASM received an Aga Khan Award for Architecture in 1983 for the Hafsia Quarter; in 1989 for the Sidi el-Aloui Primary School; and in 1995 for the Reconstruction of the Hafsia Quarter II. Sémia Akrout-Yaïche, an architect and planner, has been Director General of the ASM since 1993. Project Data Client: Municipality of Tunis, Tunisia Architects: Association de Sauvegarde de la Médina de Tunis, Tunisia:
• Sémia Akrout-Yaïche, General Manager; Zoubeïr Mouhli, Deputy Director for Architecture and Urban Planning; Faïka Bejaoui, Deputy Director for Rehabilitation and Construction Permits; Abdelkerim Gazzah, Deputy Director of Restoration Works, Tunisia
• Mohsen Azaïez, Khaled Bouzid, Soulef Aouididi, Lassaâd Ben Slimene, Mourad Ghanoudi,Sadika Ghouma, Amel Meddeb- Ben Ghorbel, Khaled Ayed, Moez Jïed, Moez Tabib, Mehdi Ben Abdallah, project architects, Tunisia Craftsmen: Safouane Ftouha, painter; Mongi Harbaoui, carpenter, Tunisia Site area:
• Hypercentre: Around an axis 1,433m long x 60m wide (Avenue Habib Bourguiba and Avenue de France)
• Théâtre municipal de Tunis 1,500 m2
• Marché central: 12,000 m2
• Ancien Tribunal administratif: 2,530 m2
• Cinéma Palace: 1,100 m2 Cost: US$ 19.5 million Commission: 1998 Design: 1994-2002 Construction: 1999-2007 Occupancy 2007 (and ongoing)
Website www.asmtunis.com Wadi Hanifa Saudi Arabia Wetlands, Planner: Moriyama & Teshima Planners Limited / Buro Happold in joint venture Completed: 2004-2007 ongoing Design: 2001 ongoing Site size: 120 km stretch Project Description Located in the middle of the Najd Plateau of the Kingdom of Saudi Arabia, the Wadi Hanifa (or Hanifa valley) is the longest and most important valley near Riyadh, a natural water drainage course for an area of over 4,000 square kilometres and a uniqu geographical feature in this dry region. Until recently, many segments of the valley had been exploited in an aggressive and environmentally destructive manner. In an effort to redress the balance between the resources of the wadi and the people living around it, the Arriyadh Development Authority has implemented a comprehensive development strategy, a programme of works that aims to restore and develop Wadi Hanifa as an environmental, recreational and tourism resource. Project works so far
have included the introduction of landscaping, conservation of the natural environment, development of recreational areas for the people of Riyadh, enhancement of agricultural land in the valley, and the creation of an environmentally sensitive wastewater treatment facility that provides additional water resources for the rural and urban inhabitants of the region. Jury Citation “This project reverses the tide of rapid urban development, which has seen public space in many cities within the Muslim world fall victim to expropriation and other practices that deprive the population of its resources. This invariably happens at the cost of environmental values and sensitive ecosystems. The Wadi Hanifa Wetlands project eloquently demonstrates an alternative ecological way of urban development. It shows how a major natural phenomenon which, through the course of urbanisation, became a litter-strewn and dangerous place – a scar on the face of the capital city – can be transformed by sensitive planning attentive to social values and imaginative infrastructure driven landscape solutions. The Award has been given in recognition of the project’s vision and persistence in developing a sustainable environment. Using landscape as an ecological infrastructure, the project has restored and enhanced the natural systems’ capacity to provide multiple services, including cleaning the contaminated water, mediating the natural forces of flood, providing habitats for biodiversity and creating opportunities for recreational, educational and aesthetic experiences.”Bibliography: Arriyadh Development Authority/Moriyama & Teshima/ Buro Happold, Wadi Hanifah Comprehensive Development Plan(October 2002) Arriyadh Development Authority The High Commission for the Development of Arriyadh, chaired by HRH Prince Salman bin Abdulaziz Al Saud, was established in 1974 (1394H). The High Commission oversees the economic, social, cultural, architectural,environmental and infrastructural development of the Saudi Arabian capital, and coordinates the activities of public and private organizations engaged in developments of the city. The Arriyadh Development Authority (ADA) is
the executive arm and implementing agency of the High Commission. It is responsible for instituting policies and procedures through comprehensive, strategic, long-term plans designed to raise the efficiency of the services and infrastructural facilities in the city and for the implementation of comprehensive development projects in Riyadh, with the ultimate goal of improving the living standards of its inhabitants. The High Commission received the Aga Khan Award for Architecture in 1989 for the Al-Kindi Plaza and Hayy Assafarat Landscaping; in 1995 for the Great Mosque of Riyadh and Development of the Old City Centre; and in 1998 for the Tuwaiq Palace in Riyadh. Moriyama & Teshima Planners Limited Moriyama & Teshima is a Canadian architecture; planning and landscape architecture firm that as, over the past 30 years, built a body of landscapes and master plans for urban environments, ecological regions and entire watersheds. In 2001, the High Commission for the Development of Arriyadh commissioned the Joint Venture of Moriyama & Teshima Planners Limited and Buro Happold to develop a Comprehensive Development Plan for Wadi Hanifa. Buro Happold Buro Happold is an engineering, design, planning, project management and consulting services firm founded in 1976 in Bath, UK. The firm operates worldwide and in almost all areas of engineering for the built environment including buildings, infrastructure and environmental projects.Project Data Client: High Commission for the Development of Arriyadh/ Arriyadh Development Authority, Saudi Arabia:
• HRH Prince Salman bin Abdulaziz Al Saud, Chairman of the High Commission for the Development of Arriyadh.
• HRH Prince Sattam bin Abdulaziz Al Saud, Deputy Chairman of the High Commission for the Development of Arriyadh.
• Abdullatif bin Abdulmalik Al-Sheikh, Member of the High Commission for the Development of Arriyadh and President of the Arriyadh Development Authority.
Landscape Architects: Moriyama & Teshima Planners Limited, Canada George Stockton, President Consulting Engineers: Buro Happold, UK Roderick Macdonald, Chairman Catchment Area: 4,000 km2 over a 120 km stretch Cost : US$ 160 million Design: 2001 (and ongoing) Completed: 2004-2007 (and ongoing) Website: www.arriyadh.com