Use of
traditional elements in contemporary architecture in Kuwait
Dr. Yasser
Mahgoub
Abstract:
The use of elements derived form traditional
architecture to express a cultural identity is noticeable in many parts of the
world. While some view it as an authentic effort to relate contemporary
architecture to its locality, others view it as a fake attempt to mask
contemporary architecture with covers from the past. This paper examines the
use of traditional architecture elements in contemporary architecture in Kuwait . It investigates
the current attempts to utilize elements derived from traditional Kuwaiti
architecture in the design of contemporary architecture. The aim is to
understand these efforts in the context of Kuwait , where architecture passed
through dramatic transformations during the second half of the twentieth
century as a result of economic, regional and global changes. The views of architects
and non architects are considered as well as the different strategies used in
expressing cultural identity. Interviews and questionnaires with architects and
non architects were conducted and examples of projects were surveyed and
analyzed. The analysis of data illustrated the views of architects and their
perception by non architects. The study concluded that, on one hand,
architecture who use traditional elements employed several strategies as an
attempt to express an architectural identity in their work. On the other hand,
architects who don’t attempt to use traditional elements in their work assert
that cultural identity is constantly changing and that it is a product of
authentic practices and design. While this study is relevant to other Gulf countries
that share similar conditions with Kuwait , it is also relevant to
other countries in other parts of the world in their attempt to search for an
identity in architecture.
ملخص
من الملاحظ في كثير من بلدان العالم استخدام
عناصر مستمدة من العمارة التقليدية للتعبير عن الهوية الثقافية. وفي حين يرى البعض
أنها محاولة أصيلة لربط العمارة المعاصرة بجذورها ، يرى آخرون أنها محاولة وهمية لاستخدام
قناع يغطي العمارة المعاصرة بعناصر من الماضي. تبحث هذه الورقة استخدام عناصر
العمارة التقليدية في العمارة المعاصرة في الكويت و المحاولات الجارية الآن للاستفادة
من العناصر المستمدة من العمارة الكويتية التقليدية في تصميم العمارة المعاصرة.
والهدف من الدراسة هو محاولة فهم هذه المحاولات في الكويت، حيث مرت العمارة بتحولات
هائلة خلال النصف الثاني من القرن العشرين نتيجة للتغيرات الاقتصادية والإقليمية
والعالمية. تناقش الورقة آراء المعماريين و الاستراتيجيات المختلفة التي
يستخدمونها في التعبير عن الهوية الثقافية للعمارة الكويتية. وقد تم عمل مقابلات
واستبيانات مع المعماريين وغير المعماريين وجمع أمثلة من المشاريع وتحليلها. وقد خلصت
الدراسة إلى وجود عدة استراتيجيات يقوم من خلالها المعماريين باستخدام العناصر
التقليدية في محاولة للتعبير عن الهوية المعمارية في عملهم. ومن ناحية أخرى فان المعماريين
الذين لا يستخدمون العناصر التقليدية في عملهم يؤكدون على أن الهوية الثقافية في
تغير مستمر وأنها نتاج لممارسات أصيلة في التصميم. قارنت الدراسة بين آراء
المعماريين وغير المعماريين للتعرف على العناصر المشتركة والمختلفة في رؤيتهم
لاستخدام العناصر التقليدية في العمارة المعاصرة. وفي حين أن هذه الدراسة مفيدة لدول
الخليج حيث تتشابه ظروفها مع الكويت ، فهي ذات أهمية للبلدان الأخرى في أنحاء
العالم في محاولة للبحث عن الهوية في العمارة.
1. Introduction:
Arab
architects are in a continuous process of criticizing their own versions of
modern and post modern architecture and the prevailing contemporary practices.
Within their criticism, discourses always suggest the recycling of traditional
architecture and its elements as a way of establishing and imposing a
distinguished character in the contemporary city. Typically, this takes the
form of either refurbishing old palaces and public buildings, or establishing
visual references—borrowed from the past—and utilized in contemporary/modern
buildings. (Slama, 2009)
The use of
elements derived form traditional architecture to express a cultural identity
is noticeable in many parts of the world. While some view it as an authentic
effort to relate contemporary architecture to the roots of the place, others
view it as a fake attempt to mask contemporary architecture with covers from
the past. This
paper examines the use of traditional architecture elements in contemporary
architecture in Kuwait Kuwait Kuwait
2. Theoretical framework:
The beginning of the 21st century is marked by
increasing globalization and the affirmation of a singular identity that is in
constant tension with traditional local identities. This trend has started
after the spread of the international style, during the second half of the 20th century, and
intensified as a result of the spread of globalization as a dominating world
view at the end of the century. As a reaction to this sweeping trend, the
phenomenon of expressing local cultural identities in architecture is observed
in many parts of the world. As Castells put it, “cultural identity is the
process by which social actors build their own meaning according to cultural
attributes.” (Castells, 2004)
The question of whether architecture
should express a cultural identity is being investigated by many researchers in
many parts of the world. Gospondini argues that “in the process of economic and
cultural globalization, European integration and the blur of national
identities in Europe , place identity emerges
as a central concern of both scholars and other people.” (Gospodini, 2004, p.
225) In Singapore
The general debate on the
representation of cultural identity in architecture was initiated by Frampton
and others in the 80s by introducing the concept of critical regionalism. Kenneth
Frampton’s theory of critical regionalism received much attention as it seemed
particularly relevant to developing countries faced with the onslaught of
Western media, commodification and globalization (Frampton, 1985). The
architecture of critical regionalism makes reference to the site, the “genius
loci” on a more abstract level. Rather than dealing extensively with the region
itself and a particular regional style, Frampton’s concept of regionalism
mainly focuses on the relationship of a building to its site and location in a
sociological context. However, the concept of critical regionalism has since
been challenged by many critics, particularly those who question its relevance
for more advanced economies. According to Lim, “the concept of regionality
depends on it being possible to correlate cultural codes with geographical
regions. In modern societies these regional differences are largely
obliterated, or as I would add, hybridized.” (Lim, 2004, p.19)
Although this concept was developed
in the context of industrialized countries, it has also been applied to
contemporary architecture in developing countries. However, it seems that it
overlooks fundamental differences and neglects important factors underlying the
postcolonial development of architecture in these countries. Specifically, it
does not reflect the diverse and dynamic nature of the emergence of local
identities. It superimposes a rather static and narrow notion of local vs.
universal, traditional vs. modern concepts. As an analytical approach it seems
inadequate to capture the products of "local architecture" and their
perception by theorists and the general public. (Tzonis et al, 2003) In many
developing countries identities can hardly be localized and many places show
composite patterns with more than one identity. In addition, the works of
architects labeled as contributions to promoting "local identity"
seem to have more in common with the developments in other countries than with
the characteristics of the place where they have been erected.
In the Arab region, the phenomenon of
expressing cultural identity in architecture became significant during the
seventies as the influence of modernization started to be more apparent in
creating completely different architecture than the traditional Arab city
architecture. El-Sheshtawy et al (2000) argue that third world cities -
especially those which have witnessed rapid growth within the last two decades
- are moving towards a "co-existence" model which takes into account
forces of modernization and change (globalization) while at the same time
responding to the preservation of traditional elements within the society. They
concluded that an examination of the viability of this model and its
suitability for other cities is recommended and they argued that in a world
dominated by forces of globalization the current discourse on the "loss of
identity" needs to be reconsidered. Salama (2006) argues that, “in the
Arab region, issues that pertain to identity, character, and architectural
trends of the built environment have been in debate for two or three decades,
more so because of this region’s cultural uniqueness and plurality. However, it
is this cultural uniqueness that has made it a tough quest and has – in many
cases, culminated into sacred symbolism that is painful to behold or
comprehend.” (Salama, 2006) Saleh points out that climatic, social, topographic
and economical aspects were important factors in the formulation of regionalism
in Saudi Arabian cities. He argues that these factors are now weakened by two
controversial trends in planning and design of place known as the
traditionalism and modernism. He asserts that the professionals use their skill
in the incorporation of historical as well as new images of the physical place
and structures to enhance their identifiability and recognition in the city.
The image represents a cultural significance which tie it to culture. (Saleh,
1998) Al-Naim explains the cultural hybridity that characterizes built
environment in the Gulf countries as a product of two main ideological views:
the futuristic and traditionalist, “while the first group rejects historical
heritage, the second considers the past as the only valid evidence that should
be considered to shape the present. They both accept the use of technology as a
necessity that cannot be avoided.” (Al-Naim., 2005:105) He concludes that “when
a local culture borrows shapes and ideas to be utilized in the built
environment, several processes occur to ‘resist’ the ‘new’.” He calls it “the
mechanism of cultural resistance in the built environment.”(Al-Naim., 2005:116)
3. The Context:
Architecture in Kuwait
Figure 1. Kuwait
Attempts towards expressing cultural
identity in Kuwaiti architecture has started during the 1970s by foreign
architects who were invited to design landmark buildings after the
implementation of the first master plan in Kuwait Kuwait
Figure 2. Kuwait Parliament
Building
Figure 3. Kuwait
The appearance of architecture that
attempts to reflect cultural identity by Kuwaiti architects is a different
phenomenon. As described by Khattab (2001), "particularly in the case of Kuwait , reasserting the local identity has
lately become a matter of great importance especially after Iraq 's claims in Kuwait Kuwait Kuwait
Figure 4.
Example of projects by Architect Saleh Al Mutawa. (Source: the
author.)
4. Research Method:
For the purpose of this study, data
was collected using the following methods:
·
In-depth interviews with
architects and non architects were conducted.
·
Questionnaires were developed
and distributed to collect relevant information from architects and
non-architects.
·
Examples of projects using
traditional elements were collected surveyed and analyzed.
5. Analysis of data:
5.1.
The Architects’ Views
The analysis of data illustrated the
views of architects regarding the use of traditional elements in contemporary
architecture. It also illustrated the perception by non architects of the same
phenomenon. Architects who use traditional elements employed several strategies
as an attempt to express a Kuwaiti architectural identity in their work. On the
other hand, architects who don’t attempt to use traditional elements in their
work assert that cultural identity is constantly changing and that it is a
product of authentic practices and design.
There are commonalities and
differences between the views of the architects regarding the sources of
Kuwaiti architectural identity. There is a general agreement that the climate
and the environment have a major influence on the culture of the people and the
architectural identity. Environmental response to the climate is a key factor
in reflecting the identity of the country. Located in a harsh desert region, Kuwait
Many architects employ the metaphors
of the pearl shells and boats making in their buildings. The impact of the
religion on the culture is very significant and essential for understanding the
needs of the individual for privacy, family members interaction, and space
configuration and orientation. These needs are currently being modified under
the influence of higher economic standards and globalization. Religion is also
viewed as a unifying force of the individual with nature and society, a notion
opposite to the current trend towards individualism and show-off.
There is an agreement among
architects that there are elements, vocabularies, proportions, and materials
that distinguish traditional Kuwaiti architecture, but there is no agreement on
whether they should be used again or not. Some architects think that the reuse
of these elements and vocabulary is essential to achieve a distinctive
architectural Kuwaiti architectural identity that relates contemporary
architecture to traditional architecture. Others believe that it is not a necessity
to use these elements and vocabularies but it is essential to respond to the
climatic conditions and the specific needs of the Kuwaiti people.
Figure 5. Bait
Al Badr embodies many traditional elements. (Source: the author.)
There is recognition among Kuwaiti
architects that buildings alone are not sufficient to convey the cultural
identity. The context of architecture provides an important background against
which architecture is understood. The traditional city spaces provided an
important dimension to the experience and provided a meaningful reading of
traditional architecture buildings. When placed against modern streets and
buildings, traditional elements and vocabularies read more like Disney World
than authentic architecture.
5.2. The Views of Non-Architects’
The results indicated that there were
important differences between the views of architects and non-architects
regarding the meaning and importance of expressing a cultural identity in
Kuwaiti architecture. There was a significant difference between architects and
non-architects views regarding the expression of cultural identity in
contemporary architecture and environment. While architects considered that
architecture is always an expression of contemporary culture and life style,
non architects believe that cultural identity is only expressed in traditional
buildings and environments. Architects considered cultural identity to be
expressed mainly through the urban context while non-architects considered that
cultural identity to be expressed mainly through individual buildings.
Another important difference was
found between the views of the architects and the non-architects regarding the
role of the client in positively contributing to the establishment of a
cultural identity. While architects considered the client as an important
contributor in encouraging the architect to design buildings that reflect a
local cultural identity, non-architects considered the architect as the sole
responsible entity for the promotion of cultural identity in architecture.
6. Conclusions:
This study revealed that there are
commonalities and differences between the views of the Kuwaiti architects
regarding the sources of Kuwaiti cultural identity. The use of traditional
elements is contemporary architecture is a reaction to rapid changes that
Kuwait went through during the second half of the 20th century that
included dramatic transformation from traditional to modern environment, the
traumatic impact of 1990 invasion and globalization . The use of traditional elements
is not recognized as an attempt to return to the past but as an attempt to
recognize the past as starting point for present and future developments. Architects
and non-architects realize the impracticality to relive in traditional
buildings, but both groups recognize the need to have a distinctive identity
that is related to a distinguished past. As Slama put it:
Societies
tend to re-evaluate the meaning and desirability of built environments rapidly.
The search for an architectural identity, the rise and fall of ISMS (movements
and tendencies), and the continuous debate on symbolism and character issues in
architecture are derived from this fact. That search seems to be a
preoccupation with countries that have cultural richness and multi-layers of history.
Architects and designers in those countries find themselves dealing with a
paradox needing to project a certain image of themselves through their built
environment. (Salama, 2007)
While this study is relevant to other
Gulf countries that share similar conditions with Kuwait France
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BIOGRAPHICAL NOTE
Dr. Yasser Mahgoub, Assistant Professor of Architecture, Department of
Architecture, College of Engineering and Petroleum, Kuwait University. Received
B. Sc. in Architectural Engineering degree from Ain
Shams University ,
Cairo , Egypt
in 1978 and Doctorate in Architecture degree from The University of Michigan, Ann Arbor , USA Ain Shams University ,
Cairo , Egypt
from 1978 to 1993, United Arab Emirates
University , Al Ain, UAE from 1993 to
1999, and Kuwait University Egypt
and as a consultant for Kuwait University Vice President for the New University
City Campus.
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