The Dubai Quill

Dubai’s newest firm, Mishascape, unveils its signature project and, in the process, introduces new mythology

Created for a competition that called for a ‘Tall Emblem Structure’ in Dubai’s Za’abeel Park, Dubai Quill aims to be an emblematic symbol that represents the aspirations of the city of Dubai, its leaders and its inhabitants.

Designed by Misha Stefan-Stavrides, founder of Mishascape, one of Dubai’s newest architecture studios, Dubai Quill responds to the sociocultural demographic of the city while, at the same time, offering recreational, scientific and cultural space within the overall plan.

While at first glance, Dubai Quill may resemble something more science fiction than sand dunes and cityscapes, Stefan-Stavrides actually designed his structure around an Arabian folk tale he wrote.

In fact, despite its space-station-like first impression, according to his original design brief, Dubai Quill is completely organic and totally contextual.

“The building’s curve, earthbound by gravity, captures the graceful tension between earth and sky, balanced between present and future. The architecture uses a soft geometry to define nature’s poetry of motion, written in a single line,” explains Stefan-Stavrides.

“As seen in the curvaceous architecture of mosques and tents…the flowing robes of local dress…the organic flux of Arabic calligraphy…or the soft swirls of sand dunes. The Quill’s form captures the essences of the visual iconography surrounding us in the UAE,” he adds.



Why a feather?

While the Arabian connection makes sense after a bit of explanation, it certainly isn’t immediately intuitive. So, it stands to reason that the architect might have chosen a more obvious or straightforward design to illustrate his vision. But, according to Stefan-Stavrides, that wasn’t an option.

“The starting point for the design was the feather, but that wasn’t the design itself. The Quill isn’t an enormous, over-scaled feather. It’s much more refined than that,” explains Stefan-Stavrides. “A lot of buildings [in the Middle East] end where they begin—at the starting point. Architecture should go through a series of permutations, developing the diagram, in order to reach maturity. If not, the result is pastiche, or worse, a design that is predictable and lacking in subtlety.”

In order to achieve that subtlety, he purposely stayed away from the common, sometimes pastiche, symbolism of UAE architecture and sought to highlight something just as prevalent, but something that remains slightly unnoticed.

“I must have heard ‘inspired by the palm leaf’ a hundred times to introduce a new scheme…. I’m always looking for overlooked metaphors which are just as relevant to the region,” said Stefan-Stavrides. “The UAE has a rich legacy associated with birds. Falconry, flamingos at Dubai Creek, peacocks at the royal palaces and even the dove graphics used for the logo for Dubai’s Parks & Horticultural Department. It therefore seemed apt and timely to introduce the symbol of the feather to develop the aesthetic.”

The rose/feather interaction

The rose, Stefan-Stavrides explains, is much like the feather in this part of the world—very prominent, yet very overlooked. “Alongside the reference of the feather, the rose is a particularly interesting and appropriate flower to the region and one that very few parks have, even though they do well in this climate when shaded from direct sunlight.”

He continues: “Both Attar of Rose, a steam extracted oil used in the creation of perfumes, and Rose Water, which is used for cooking, are widely used locally and throughout the Middle East…. [Moreover] a Roman custom, borrowed from ancient Arabs, was to place roses outside a place where confidential discussions and meetings were taking place.”

The Rose Garden is elliptical. Cut roses are set into vases built into the curved edge wall in a grid formation and can be purchased from the kiosk at the narrow far end. Curved, ramped, timber pathways lead the visitor to walk around the rose bushes growing in the soil.

The observer may view the horticulture from lower and higher levels, finally being tempted at the kiosk to purchase a bouquet or rose products, all under the shade of the splayed fronds above, which overlap the open void and beckon potential visitors.

Areas

Sky Café (+44)
• Main area 125 m²
• Lower level area 60m²

Library (+4)
• Finite area 215 m²
• Escalator lobby area 60 m²

Rose Garden (+1)
• Open area 725 m²
• Lobby area 195 m²

Auditorium (-2)
• Main area 690 m²
• Foyer / waiting / reception area 340 m²
• Lobby area / restrooms 280 m²

Car park (-5)
• Escalator lobby area 170 m²

Total Built up area
• 2135 m²

Total Usable area
• 2860m²

The conception of Dubai Quill was an effort to marry nature and architecture, using the fluidity of curvilinear forms growing out of the landscape to curve upwards and embrace the sky.

Moreover, the purity of the forms is expressed as a symbol of strength, longevity and individuality, where the fragmented parts reconstitute to form a linear, directional composition.

“The Quill’s curve…captures the graceful tension between earth and sky, balanced between present and future. The architecture uses a soft geometry to define nature’s poetry of motion, written in a single line,” explains Stefan-Stavrides.

The structure itself—which is constructed of shiny, iridescent material—reflects and refracts the surrounding landscape and flora set against the backdrop of Dubai’s metropolis. By employing a repetitive series of parabolic lines in the self-supporting quill-like structure, the profiles splay upwards from an elliptical plan at grade to a focal centre, a vertical point 134.5 metres above the datum level.

The Quill, its vane orientated southwards, shades the Grand Plaza and glazed auditorium roof below from direct sunlight. The Sky Café, embedded into the structure of the Quill, is oriented to catch the light from the western sunset, bathing the space in a crimson glow.

Internally, the kinetic expression of repetition permeates from the structural forms themselves through to decorative internal elements, thus blurring the boundaries of where the architectural shell stops and the interior design begins. The two disciplines fuse into one overall concept, creating forms and spaces which engage the local heritage and culture.

Form and function

The organization of the composition is instantly visible, allowing visitors to understand the program, which offers a flexible arena within the Grand Plaza and the area between the auditorium roof and the splayed profiles of the Quill for live events and exhibitions. The adjacent terraced amphitheatre can also be used for live shows and events.

The public realm at this level (+4.00) offers an elliptical paved promenade area in plan, with the Quill rising at one end and the pealed-away fronds of the sunken rose garden at the other.

Entry to the children’s library and elevators to the Sky Café are at ground level, with secondary perpendicular ramps leading down to the rose garden (+1.00) and Conference area (-2.00) entrances below. Further escalators and elevators located at the Grand Plaza, allow for vertical circulation to the underground car park (-5.00).

The Conference area houses the main auditorium space, with the proscenium stage and the VIP area behind. The oval plan includes two compartmented areas that can be screened off to provide separate lecture rooms, or opened up to accommodate larger conferences.

A strip water fountain uniformly flows over the glazed roof into the 1.5 metre wide pool, which wraps the form. The water is recycled, providing a self-cleaning mechanism for the glazing. It also cools the surface and space around. Events can be held in the surrounding area, where kiosks and stands can be positioned.

The main space is created by two cylindrical elevators, contained within the spine of the Quill. The elevators are conceived of as funicular pods hanging off cables that run up the inside of the hollow shaft.

A word to the wise

There is no hesitation when Stefan-Stavrides explains that he designed the Quill to push the envelope. He wanted to create something that would be distinct in its form, yet subtle in its approach.

He sought neither the latest palm nor a ‘modern’ series of mashrabiya. Instead, Stefan-Stavrides designed the Quill to perform a specific function for its specific context and, as such, the Quill could exist nowhere else on Earth than Dubai’s Za’abeel Park.

When asked if the Quill could bring about a new typology for Middle Eastern cities, Stefan-Stavrides seems surprised by the question. “I don’t think the Quill gives way to anything. It has an identity which is its own…. If the UAE seeks recognition for good architecture, it must understand that the design process requires time and patience…. Slow down, do it properly and leave a legacy for future generations.”

His parting advice for young architects is simple and straightforward: “Invent, risk and don’t be afraid to fail. As is commonly said, fortune favours the brave.”

Once upon a time, a lonely feather lived in a beautiful Palace, where exotic birds flocked and flew in the lush tropical gardens. The feather was lonely because she wanted to be part of a wing of one of the exotic birds, but the birds had enough feathers of their own. All the different birds rejected her pleas. The Peacock had long colourful feathers of his own and couldn’t use her. The Falcon had strong wide feathers and another would make him too heavy. The Dove had graceful white feathers and another would unbalance her peace and harmony. Even the Flamingo refused, stating that he was too tall and refined for another feather.

So one day, as the winds blew in from across the sands, the feather asked the wind to carry her away. The wind gently picked her up and whisked her into the sky. She swirled round and round, up and down and eventually came to land in a grassy opening with trees and palms all around. She settled next to a solitary rose growing on the grassy slope. The scent was lovely. At one end of the opening, a lake rippled against the soft bank. Children took boat rides on the lake and people picnicked under the shade of the trees. Some walked together along the paved walkways, enjoying the sunshine and smiling. It was perfect, thought the feather. I will stay here in this beautiful park.

But that night, as the winds left, a huge storm came over the park. The sky growled and cold rain fell from the angry clouds. As the thunder raged above, a bolt of lightning cracked down from the heavens onto the feather lying on the wet grass. Instead of burning it to a crisp, something strange and magical happened. The feather began to change.

She started to grow and transform. She was changing into whatever she dreamed she could be. She dreamed as hard as she could. She would have the beauty and form of the Peacock feather, the strength and width of the Falcon feather, the grace and balance of the Dove feather and the height and elegance of the Flamingo feather. She would shape herself to reach the sky, where all the other birds fly—as high as the minarets.

She would be a symbol for inspiration, because even a feather wants to be more that just a feather.

For a thousand nights she transformed herself from the spot beside the rose where she was let down by the wind and now she was ready, knowing what she would be.

A symbol of knowledge and learning. A place where people visited, a spectacle where ideas could be discussed within her frame. A space where people could view the park from the sky just like a bird.

A place where new ideas could inspire others and where rose gardens would scent the air. A place where the continuing history could be forged and written for future generations. The lonely feather had transformed herself into a Quill. The Dubai Quill.

Biomimetic Considerations

Power

The Quill is considered as a self-supporting structure, where the splayed profiles contain a steel structural frame. The frame is clad in aluminium panels in the way aluminium boat hulls are fabricated.

Solar panels are embedded into the flat profile, which receives direct sunlight throughout the daylight hours. The solar panels generate power to light the various components of the project and power the AC systems.

Photo-luminescent materials will be used, where zero electricity is required for emergency lighting.

Water

Cold water tubes, laid within the splayed profiles of the Quill, will cool the aluminium surface of the vane. During the evening hours, the humid air condenses on the surface and moisture trickles down channels set along the profiles. The water is collected at the base and recycled to be used within the building and for watering the rose garden.

Plant

Plant areas are located adjacent to the existing services to the northern end of the site. A looped service road allows uninterrupted access to this zone. Tree planting will camouflage these out buildings.

Maintenance

Self cleaning paint surfaces can be employed for use on the Quill. The auditorium roof utilises water over the glazing to cool and clean the surface. This water is filtered and re-cycled within a closed fountain system.