Prepared by: Hisham Mokhaneh
The New York Times published a long report in which it talked about the latest art icons that have joined the list of precious architectural masterpieces in the Emirate of Dubai, which is the “Museum of the Future”.
The newspaper said, along the 14-lane Sheikh Zayed Road in Dubai, between the level skyscrapers and the subway on its elevated road and in front of international brands, an elliptical nine-storey building takes shape, drawing in its curves the heritage. of years past.
It is the Museum of the Future, the icon in Dubai, and officially opened last month before the eyes of the world at a cost of $ 136 million, to give visitors a glimpse of tomorrow. In a clear example of how buildings will be designed and assembled between a mix of human capabilities and digital power for decades to come.
Some describe him as a giant eye, others a donut, while The Architects describes him as the ring of the giant woodcutter and popular hero in American folklore, Paul Bunyan.
The newspaper reported that this 320,000-square-foot building has no supporting columns for the structure, and instead relies on a grid of 2,400 steel pipes that intersect diagonally in its outer frame, with concrete floor slabs and about 189,000 square feet of slabs. The stainless steel exterior is adorned with a message of hope for the future from His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the United Arab Emirates and ruler of Dubai, who was inspired to develop the museum by vision for the Emirates as a center of innovation.
The message was engraved on the facade of the museum in an Arabic writing designed by Emirati artist Matar Bin Lahej. Cracks between letters and words created windows that allow sunlight to enter secretly into the building during the day, as well as LED lighting that draws the shapes of these windows at night.
“I see the building as the future, but calligraphy is the heritage of our country and I had to do something from the future to the past,” quoted the New York Times Bin Lahej, who designed the variety of italics used on Museum walls. of the Future.
The museum features six floors of eagerly awaited life in 2071, including a spaceship called the OSS Hope, the same name the UAE gave to its spacecraft currently visiting Mars. It also features an exciting digitally recreated painting of the unique Amazon forest. There is also a children’s area, a 345-seat theater and an upper floor for important meetings and events that can accommodate around a thousand people.
The newspaper touched on the efforts of the architectural firm “Kila Design” and the engineer Sean Killa, who designed this extraordinary building in Dubai, where he said: “It all started with a computer algorithm and after the final design was chosen. , we used 3D software to place the line on the roof of the building. “Then we had to make sure to secure more than 1,000 diagonal steel joints.” From this point on, the innovative Dubai-based Affan Constructions company designed the exterior panel coverings for the museum.
For Tobias Pauli, project manager for the museum by British engineering consultancy Borough Happold, the brilliance of the project was a mix of digital fiction and real life. Finally, each panel on the outside of the museum is a composite of plastic and fiberglass reinforced steel. The calligraphy gaps, often three to eight feet wide, created hundreds of different shapes on which identical glass panes were glued.
The New York Times quoted Majid Ateeq Al Mansouri, Deputy Executive Director of the Dubai Future Foundation, who runs the Museum of the Future, as saying: similar to the production of advanced products. boats and with aircraft wing-like techniques, according to the latest digital technology. “We had to make sure the façade was strong enough to withstand different climatic conditions, wet weather and dust in the coming years.” Al Mansouri added: “Next we had to make sure that each steel plate could be adjusted to fit perfectly into the panels next to it and that the facade components could be easily replaced.”
The interior of the building, made of white plaster and insulation, helps protect visitors from heat and humidity during the summer. In this context, Khalfan Belhoul, CEO of the Dubai Future Foundation, said: “The gypsum layer also helps people focus on the laser that decorates the Arabic calligraphy, this layer serves to shade everything else, such as the gloss of stainless steel.” He stressed that “technology and automation have painted every part of this museum, but at the time of the current installation, the role of human competencies was greater than machines. This feeling echoed in every detail of the museum, from the first algorithm to the last piece of plaster. “