As part of the Design Doha 2024 Biennial, Glenn Adamson and Péter Tamás Nagy present the exhibition “Colors of the City: A Century of Architecture in Doha” investigating the architectural evolution of the capital of Qatar based on multiple global influences that characterize it. Running until March 30, 2024, the exhibition offers a journey through Doha's architectural history featuring various styles such as Classicism, Art Deco, and Modernism, contemplating the Qatari adaptations of these styles developed by architects from Europe, America, the Middle East, and South Asia.
Design Doha is a design biennale that focuses on creative innovation and seeks to foster the design culture of the Middle East and North Africa (MENA Region). Providing a space to showcase ideas, technologies, and designs, it comprises exhibitions, debates, and many other activities focused on design in the MENA region and its role in the face of global trends. Other than "Arab Design Now," a regional survey showcasing the works of over 70 Arab designers, the biennial also presents “Colors of the City: A Century of Architecture in Doha”, an exhibition that involves 3D models, photographs, videos, and interviews highlighting Doha's architectural landscape. Furthermore, it analyzes Ibrahim Al Jaidah's projects, such as the Al Thumama Stadium designed for the 2022 FIFA World Cup Qatar, illustrating his ability to blend cosmopolitan elements with regional heritage.
Read on to discover more about the design process of the exhibition, global styles and influences in the city's architecture, and the role of heritage, adaptive reuse, and culture in its architectural development, from one of its curators, Péter Tamás Nagy.
Related Article
Doha Architecture City Guide: 15 Contemporary Projects to Explore in the Capital City of Qatar
ArchDaily (Agustina Iñiguez): How was the exhibition conceived? How did it begin to be planned and what tools did it use to carry it out?
Péter Tamás Nagy: Colors of the City emerged as a concept of supplementing the local history of design – primarily, architectural design – into the broader framework of the Design Doha Biennial. Although I worked chiefly as a researcher of Qatari heritage, when Glenn approached me, he was convinced that I had to try my hand as a curator for the first time. My brief was to create a link between historic and contemporary architecture, so we divided the exhibition into two parts. He put together the contemporary, while I had complete freedom to translate my research into a display narrative of the historical part. Mr Ibrahim Jaidah was also on board from the beginning and made a selfless contribution to the show. I was fortunate to be able to use his archival resources alongside those of Qatar Museums and several other contributors. Yet, perhaps the most decisive moment was when we commissioned Mind the Gap agency to design the exhibition.
AI: How would you define the architectural production of Doha?
PTN: This city boasts a uniquely multi-layered architectural history, which often goes unnoticed today. The exhibition highlights some of the most emblematic movements that fell in and out of fashion over the past century. The first period was characterized by traditional construction materials: wood, stone, gypsum, and mud. Then, in the early modern period (1950s and 1960s), Doha underwent massive expansions and rejuvenation, where cement blocks and concrete became omnipresent, introducing decorative elements of Art Deco and Classicism. The color palette of those buildings was likewise novel. From the 1970s onwards, international modernism appeared, endowing the city with brutalist monuments, followed by the breakthrough of contemporary trends in the 1990s. Colors of the City seeks to bring attention to this historical pattern that was unparalleled in any other city in the region or elsewhere.
AI: Apart from preserving the cultural and architectural heritage of the city, how do you think it is possible to merge tradition with innovation in architecture?
PTN: Architects have little choice but to learn from the past. Since architectural design is usually intended for a specific location, it can hardly ignore the site’s characteristics, including the geographical and built environment. The pre-existing urban landscape or neighboring structures inevitably directs the designer to think about the locality, and what comes out of that depends primarily on their intellectual and innovative proficiencies. In my opinion, many contemporary buildings in Doha have been successful, especially when the architect ventured beyond imitating old shapes and envisioned something unprecedented yet recognizably inspired by heritage. This also means that the more we understand the past, the better equipped contemporary designers will be. At QM, part of our work is researching heritage and presenting it to the public; Colors of the City but one such attempt.
AI: Exploring Doha's early architectural history, how did this fusion of architectural styles begin to occur in the city? How do global influences coexist in local architectural production?
PTN: "This part of Doha’s history, starting in the 1950s, has fascinated me the most because of the variety of simultaneous influences that shaped the city. As soon as Qatar began exporting oil, the newfound wealth allowed the state and royal family to commission unprecedented forms of architecture. A Lebanese engineering company established oil infrastructure, while a British architect designed the first modern hospital. The most decorative buildings – palaces featuring Art Deco or Classicist ornaments – bear witness to the contributions of Iranian and South Asian artisans. Doha suddenly became a striving city where a lot of architects and craftsmen who brought characteristics of their home countries, adapting those to meet the local requirements, found employment.”
AI: While Qatar is considered home to an eclectic mix of contemporary and traditional architecture, its latest works usually refer to local culture, landscape, and traditions. How do the various architectural styles dialogue with their surrounding environment?
PTN: Throughout history, all emerging regional or international styles found their local utterances, incorporating previously unseen elements and forms. Some prefer to view such variants as ‘decadence’ from an imaginary canon; in contrast, I find it enthralling to explore how a Qatari patron encouraged artisans to enrich their repertoire by adding local characteristics. For instance, Classicist tendril motifs were combined with Quranic epigraphy, bulbous rose flowers, and mirrorwork typical in Iran. Art Deco motifs appeared alongside arabesque, palm tree, and falcon motifs. Brutalism could incorporate the emblematic forms of wind towers made of precast row concrete. These examples indicate how local and international collaborations made the best out of the patrons’ requests and the designers’ or builders’ know-how. Examining such elements today may help the present generation comprehend the local relevance of heritage.
AI: What role does adaptive reuse play in the fusion of architectural styles?
PTN: Activating and restoring a heritage site can raise ethical considerations and even spark debates among experts. While some advocate for only minimal and modest interventions, others think more drastic changes are necessary to facilitate adaptive reuse. Once we take the latter approach, the crucial question is how contemporary design may enhance the site without disrespecting its historical significance. Although this concept is still in its infancy in Qatar, there have been a few successful attempts. In my view, the National Museum stands out as the best example: the Old Palace and the new exhibition galleries work together as a harmonious body with separate organs. I'm optimistic that future projects will introduce more creativity to heritage buildings. Among the current discussions on how to expand Design Doha is activating various sites in collaboration with contemporary designers.
AI: How is Brutalism in Doha different from other regions of the world?
PTN: If the term Doha Brutalism has any legitimacy, that is because those buildings were not merely examples of an international style but also consciously incorporated vernacular elements. This was a vital requirement by the Technical Office, the state institute supervising all major projects. The best example is the newest wing of the Amiri Diwan; though notably late in date (completed in 1988), it appears as a brutalist monument, severe in shape, monochrome in color, and robust in appearance. Conversely, the outside also features decorative details imitating gypsum carvings of traditional Qatari buildings, while the interior incorporates Moroccan revival woodworks. This building is, of course, only a single case of how designers of Doha Brutalism sought to reference the region’s local heritage.
