Among the projects featured on our list of the best new buildings in the Middle East, Atlantis The Royal in Dubai, The Ned in Doha and Zaha Hadid's King Abdullah Financial District Metro Station in Riyadh might make you think that it's just scale that make a building extraordinary. But delve deeper and you will find, that no matter its size, it is how an architectural project impacts its community and sensitively combines innovation with culture that is a true measure of design genius.
The 10 projects featured on our 2024 WOW Middle East list tick all those boxes. Read on to find out which landmarks made it on our roll call of the best new buildings in the Middle East.
Argo Factory Contemporary Art Museum & Cultural Centre
_photo_IWAN_BAAN.jpg)
The first private art museum to open in Tehran since 1979 reflects a laudable shift in architectural practice towards adapting and renewing existing buildings. The 2024 AD100-listed practice ASA North, led by Ahmadreza Schricker, has created the Argo Factory Contemporary Art Museum & Cultural Centre to house the art collection of the non-profit organisation The Pejman Foundation, while simultaneously encouraging the revitalisation of its downtown location.
Having been abandoned for nearly 60 years, the century-old former beer factory that houses the museum was discovered roofless, its Flemish bond brick walls still retaining their distinctive patterns. ASA North’s renovation of the space is dominated by a series of new concrete roofs that appear to float above the structure, their striations blending in with the rooftops of nearby buildings. The “floating” design is no mere visual conceit but aids climatic control and light filtration in the galleries beneath.
The architects recycled bricks from the original factory to repair the walls, using a different shade of mortar to highlight reworked sections, and installed a dramatic concrete staircase whose curved form contrasts with the linear architecture. Named after the ale that was once brewed here, the Argo pays tribute to its past with a bar serving non-alcoholic beer alongside a library, shop, events spaces and six galleries. asanorth.com
The greatest design stories from AD Middle East, delivered to your inbox
Al Naseej Textile Factory
Part of a campaign by the Bahrain Authority for Culture and Antiquities to revive traditional crafts, the Al Naseej Textile Factory is a weaving centre and social hub for the artisans of Bani Jamrah. The villagers’ signature technique – which involves weaving two different types of wool on wooden looms to create colourful, intricately patterned clothing and scarves – is reflected in the building’s gridlike design, by Geneva studio Leopold Banchini Architects. The concept also celebrates arish, a panelled shading structure woven from local date palms.
Inspired by the weavers’ habit of digging holes in the ground in which to place their legs, which allows them to operate their looms over the ground, the facility’s low-level timber structure is punctuated by similar weaving pits and is organised around a plantation of date palms, whose trunks extend through the roof. Surrounded by an arish framework, the factory also contains shaded gardens, ponds, fountains and seating areas for social interaction, with glass panels enclosing functional areas.
Made from locally available materials and using regional skills, the factory is open yet protected, Both a workshop and a calming oasis, it plays a vital role in keeping Bahrain’s textile heritage alive. leopoldbanchini.com
Atlantis The Royal
What makes a hotel an icon? Its ability to completely capture our attention and intrigue us all at once. And that is exactly what this Dubai resort’s architecture does so well. Designed by NYC-based studio Kohn Pedersen Fox Associates, its staggering structure rises from the edge of Palm Jumeirah, towering above everything else on the man-made island.
Soaring 185 metres above sea level, the Jenga-like design of this half-a-kilometre-long building was achieved by marrying two concepts: First, the architects wanted to deconstruct the traditional ‘Atlantis’ style – two towers connected by a bridge – as an ode to the progressive architecture of Dubai. And second, they wanted to reimagine the very concept of a skyscraper in a city dotted with some of the tallest buildings in the world.
By manipulating its volume into a series of stacked blocks, they not only developed a new visual identity of the brand but also laid down the blueprint for a ‘side-scraper’ that could let nature in. Stepping down to meet each other through the sky bridge (that was lifted into place at a rate of 6-7 metres/hour by eight hydraulic jacks), the building’s two terraced towers frame dramatic views of the Gulf and the multi-storey voids visually connect the city, the sky and the sea. kpf.com
King Abdullah Financial District Metro Station
When it opens next year, the new Riyadh Metro system will serve a rapidly growing city, and is expected to transport up to 3.6 million passengers per day by 2030. At the heart of this major new project is the King Abdullah Financial District Metro Station by UK studio Zaha Hadid Architects – one of the last projects by the late architect herself, created in collaboration with Patrik Schumacher, the practice’s current principal.
The 45,000-square-metre station is a symphony of sinuous curves and will be one of the largest interchanges on the network, linking three lines and a new monorail system.
Conceived not just as a transport hub but also as a dynamic public space, the station sits at the centre of a web of pathways, sky bridges and metro lines; rail, car and pedestrian traffic across the site has been structured to optimise circulation and minimise congestion. The circulation model is based on sine waves – a geometric waveform that oscillates in an S shape and represents the way things in nature change state. The resulting architectural form is a three-dimensional lattice with an undulating façade, which acts as a “spine” for the building’s circulation as well as reducing solar gain. The perforated exterior was inspired by traditional mashrabiya screens, while the overall design echoes patterns generated by desert winds. zaha-hadid.com
Maison Brummell Majorelle
In Marrakech, where maximalism is the mantra, hotelier Christian Schallert has created a minimalist escape in the shape of the Maison Brummell Majorelle hotel. The eight-room venue, located on a peaceful street next to the Majorelle Garden, feels like staying in a friend’s home; its entrance is without signage, while creepers soften its courtyard walls, creating a space that feels comfortably enclosed.
Schallert worked with architects Bergendy Cooke and Amine Abouraoui to design the space, Cooke coming up with the overall concept, and Abouraoui’s expertise in traditional Moroccan crafts bringing the details to life, helped by a team of local artisans. The curved openings and half-moon windows on the building’s exterior are a tribute to the arches found in vernacular Moroccan architecture. While the house recalls a midcentury-modern villa, the materials used are time-honoured. Tadelakt polished plaster covers walls, ceilings and the sinuous central staircase, while the textured façade is a mix of earth and quicklime. There’s also a traditional marble hammam.
The interiors are a sensitive evolution of the Moroccan aesthetic, with a playful Modernist slant. Guest rooms are decorated in gentle creams and greys and have their own balconies, or private gardens with outdoor terrazzo bathtubs; adding contemporary verve is the cosy living room, the colour of an inky night sky, and the terrazzo and bejmat tiles that adorn the floors. bergendycooke.com; @amine_abouraoui_architects
Mamluki Lancet Mosque
Blending classical Egyptian architecture and contemporary design principles, Babnimnim Design Studio (BNN)’s fantastical-looking Mamluki Lancet Mosque in Kuwait City has created a spiritual and functional space for the local community.
Drawing inspiration from the Mamluk era, the mosque features Islamic motifs such as calligraphic reliefs, intricate geometric ornamentation, archways, and elements of the Moqarnas typology – all of which are embedded into the building’s five volumes that resonate the Five Pillars of Islam. These volumes are composed of stacked stone masses that progressively rotate as they ascend toward the central half-dome, bridging the gap between its Qibla-oriented lower mass and site-aligned upper mass. The three intervening volumes of the building dynamically coalesce to form a funnel-like configuration, creating an unobstructed interior that is devoid of columns.
A pared-down material palette lends a modern touch to the structure, with its grey stone cladding and white clay plastering, that reimagines materials from the Mamluk era through a contemporary lens. The subtle brass accents and ornate detailing strike a balance, where ornate detailing, calligraphic engravings and crafted metalwork enrich both the interior and the exterior of the mosque. It is this fusion of design principles that lends a timeless air to this spectacular place of worship. babnimnim.com
Masjid Bab Al Salam
Spaces that hold a community must evolve with the people they bring together and when it comes to places of worship – where spirituality and faith are so intrinsically interwoven with architecture – a particular sensitivity is required. According to Marwan Al Balushi, lead architect at Altqadum, context is key; a belief beautifully crystallised in the studio’s latest project, the Masjid Bab Al Salam in Oman.
Taking cues from the simplicity of the historic Omani mosques, the studio took a sculptor’s approach, crafting a series of monolithic structures that together communicate a contemporary vision while faithfully incorporating all the functions of a mosque.
Interpreting the circle – a form often associated with spirituality – the studio fashioned a prayer hall as a cylinder punctured with a slender opening that lets in a sliver of light; Its ceiling was developed using Cobiax – a lightweight construction technology, which minimises concrete use and reduces overall weight. Similarly, the conical minaret was constructed using a specially developed shuttering system that allowed for building in stages. Complementing progressive construction tech with age-old design principles including passive irrigation (reusing water splashed from the Men’s ablution space to upkeep the landscape) and utilising natural lighting (via apertures in the ceiling), this mosque minimises its carbon footprint. @altqadum
National Bank of Kuwait
A new landmark for the Kuwaiti skyline, the headquarters of the National Bank of Kuwait by Foster + Partners is distinguished by its sleek cylindrical form. Reminiscent of a shell, the building’s curved shape opens to the north to avoid solar gain, revealing views of the Arabian Gulf. It also evokes the lines of a traditional dhow sailing boat, referencing Kuwait’s roots in international trade.
At 300 meters high with 60 floors, the skyscraper is the second tallest building in the city, and provides an energy-efficient passive architecture that shields its interior from the extremes of Kuwait’s climate. A series of full-height concrete fins are integrated along the sun path, providing structural support and shading, while the tapering design maximises space on the upper floors while protecting those below from the sun’s rays.
The building presents breathtaking vistas both inside and out. The entrance lobby is a dramatic space that soars 18 metres high; the levels above are punctuated by sky lobbies which serve as meeting spaces and gathering points. The 18th floor boasts a double-height restaurant, while the 38th has a ballroom and auditorium. Topping it all off is the chairman’s club at the apex, lit by a huge skylight. Serving as a symbol of Kuwait’s economic success, the tower is also proof that the skyscraper is an architectural form with a sustainable future. fosterandpartners.com
Oman Across Ages Museum
One of the oldest cities in Oman, Nizwa, is now home to the recently completed Oman Across Ages Museum, which celebrates the country’s rich culture and history, while simultaneously setting its sights on the future of the vibrant Gulf state.
Inspired by the looming geometric profiles of the Al Hajar Mountains and its canyons, the angular inclined plane situates the building within its context; its’ geometric volumes boldly rising from the desert floor and stretching across the horizon, leveraging scale, geometry, form, light and vistas for visitors to experience. Inside, the museum includes various galleries, a library, an auditorium, as well as educational, social, research and workspaces.
As part of COX Architecture’s ethos of ‘doing more with less’, the structural system of the building not only responds to its desired external form, but also complements the internal functional requirements of the museum, allowing for expansive, column-free gallery spaces. Now a cultural landmark, the museum takes visitors on a journey from Oman’s history across centuries; from the first settlers of prehistory to the present, flying through a sequence of ages, dynasties, and civilisations. A special focus includes the nation’s modern renaissance since the 1970s, during which the country has experienced a period of economic, technological, political, and social modernisation, told through a series of immersive technologies as a meeting of past and present. coxarchitecture.com.au
The Ned
Rounding up our 2024 list of the best new buildings in the Middle East is one that signals Doha’s rebirth as a vibrant modern metropolis. The Ned Doha, set in the Ministry of the Interior building designed in the 1970s by Lebanese architect William Sednaoui is celebrated for its lattice-like Modernist façade and prime location on the Corniche waterfront; this landmark has been transformed by David Chipperfield Architects, with 90 rooms and suites by Soho House Design.
The architects added a new top floor to create a lush roof garden. Complete with exotic plants, pools and artworks, this 260m-long oasis is sheltered from the hot Doha sun by a brise soleil canopy of slender concrete ribs. A soaring atrium and spacious inner courtyard form the heart of the hotel, and feature generous expanses of marble, including a geometric inlaid floor in the lobby. These stone details echo the Ministry’s original travertine façade.
The 1970s-inspired rooms fuse retro glamour and classic comfort, with statement half-moon headboards, Murano glass lighting, coffered ceilings and vintage furniture in a palette of warm colours and rich woods. The hotel also boasts seven restaurants (including Kaia, a stylish Pan-Asian eaterie with wood-panelled walls) and a members’ club, which offers access to the rooftop terrace, health club and spa, and a 30-metre outdoor pool. What’s more, there’s an impressive art collection on display, with over 350 works by 95 artists, many of whom are women from Doha. davidchipperfield.com
