SUSTAINABLE PRACTICES IN PUBLIC ART IN DUBAI

The structure is an exploration of how industrial waste can be reclaimed to create a new vernacular, reacting to the program’s call to reexamine environmental and cultural issues of global significance. ‘Why is waste not considered part of our context?’ 

Text description from the architect in an interview with designboom.

Can you introduce your approach to integrating sustainability into architecture and how your practice addresses challenges posed by urban industrial waste?

My practice is focused on exploring new ways to build more sustainably using large-scale industrial waste materials; waste that is a product of our cities. My concern is with what comes from our local context.

Today, we’re facing a climate crisis, and I was first shocked to learn that the construction industry accounts for 40% of this. So, I started thinking about the responsibility of architects in causing these challenges and the role we must play in addressing it. One of the biggest contributors is actually Portland cement. It is used readily globally and without much thought because it is low-cost and allows for rapid construction.

Your research on sustainable alternatives to Portland cement began with your project Wetland. How did this tie into, or influence, your material research?

Through our research for the 2020 Venice Architecture Biennale UAE Pavilion, we were looking for eco-friendly alternatives to Portland cement in our local environment, and we were led to the UAE’s salt flats.

But because the current economic model is linear — you extract, consume, discard — I thought that we need to start thinking in circular models to protect and enrich our planet. I didn’t want just to extract.

How did this initial exploration extend into the development of Barzakh then, which you refer to as Wetland’s second prototype?

For Barzakh we identified reject brine, which is a byproduct of the desalination process, as a potential binder to the coral modules. The UAE is the world’s third-largest producer of desalinated water, and the waste brine is typically dumped back into the sea where it increases salinity, kills marine life, and traps more heat in the water.

In what ways does the pavilion draw inspiration from vernacular architecture in the UAE? And how are you reinterpreting those traditions for this context?

Historically, architecture in the UAE used coral, which allowed walls to breathe and created naturally comfortable environments passively without relying on mechanical cooling, which comes with an environmental cost. We wanted to go back to this, and when you sit inside Barzakh, even under the midday sun, you are shaded and there is a natural, passive airflow. Also, the idea is to reinterpret vernacular architecture by turning industrial byproducts into assets. Why is waste not considered part of our context? There is potential for it to become a new vernacular.

Could you elaborate on Barzakh’s materiality and its properties?

With Barzakh, we pushed the limits of material investigation. The entire structure is made from coral, recycled HDPE (plastic) waste, and palm fiber, and the modules are connected with pins made from recycled aluminum cans. There is no reinforcement — no nails, screws, or steel. It’s a domed structure that is entirely self-supporting. During construction, it also proved extremely stable, you can climb all over it.

This shows that plastic, which has a lot of negative connotations, can be used to create strong, functional structures that are beautiful and also reflective of our local context. We achieved this using advanced AI software typically used in designing airplane wings, embracing technology as a tool for innovation rather than fearing it.

You have also integrated an interactive light feature. How does this work?

This feature itself is a representation of the natural environment because it responds to wind via a sensor. The wind’s movement and intensity dictate the light’s color, direction, and brightness.

We’re increasingly disconnected from nature, and this feature tries to reconnect us by making environmental elements visible, and it’s also a way to understand our natural phenomena. It’s essential to restore our relationship with nature to address the climate crisis effectively.

Do you see this material exploration translating into inhabitable architecture?

These prototypes are expressions, tools to open conversation. They make statements extending beyond just buildable forms. They encourage us to rethink local architectural traditions, such as coral forms in the UAE, and explore passive cooling strategies over resorting to standardized air-conditioned boxes.

Modern architecture often imposes standardized designs across vastly different cultures and climates, leading to environmental, social, and even cultural crises. These structures challenge such practices and advocate for more sensitive solutions.

In that case, creating an intervention for a public space is a great way to spark these dialogues.

Public interaction was a crucial aspect for me. Because I am an architect, I wanted the pavilion to be an organic space where people could gather, and not just be something to observe.

I also look at it also as a tree, providing shade and a comfortable space where people can relax, chat, or enjoy the sunset and the sea. And so, it’s about life, and that is why it is called Barzakh.

What is the meaning of Barzakh?

The name comes from the Arabic word for liminal space, and here, also estuary — the meeting point of fresh and saltwater, which creates an interesting micro-ecosystem in which biodiversity thrives. It is also like a space between black and white.

What’s next for Barzakh and your material explorations after the biennial concludes?

From what I understand, Barzakh will remain in place for at least a few years, until the planned restoration of the corniche begins. Since the structure is designed to be disassembled and reassembled, we also have great flexibility, which, to me, is another form of sustainability. Barzakh can be reconfigured into a different form, or even divided into parts and distributed around the city.

As for what’s next, I don’t have a specific material in mind yet. But it’s certain that something will emerge; we’re constantly eager to present new perceptions.

Barzakh
LOCATION Dubai, United Arab Emirates
ARCHITECT Wael Al Awar
PHOTOGRAPHY Lance Gerber