Meyerhans: loving architecture

According to Dubai architect André C. Meyerhans, "It's not what you see but what you notice that matters." As an architect, he is committed to creating structures that capture immediate attention.

André, the concept architect of the new Al Garhoud Bridge in Dubai, earned an MA in architecture at the Swiss Federal Institute of Technology in Zurich.

After working in the field for a few years, he realised he would need some instruction in marketing and finance to successfully build structures, so he completed a Swiss Federal Diploma in marketing, and became a member of the Swiss Federal Association of Engineers and Architects.

André has been living in Dubai for several years and his admiration for the city's energy and vision has grown. He actively blogs about Dubai for a Swiss architecture and design magazine called Hochparterre.

Prior to Dubai, he worked with signature architect Santiago Calatrava, developing brand designs for Alfred Dunhill, Cartier and Lacroix with CAPS Ltd. In addition, he worked with Halcrow International Partnership. Currently, he is a design coordination manager with a local development management company.

As seen through his work in Dubai, his interest lies in designing structures that reflect the rich cultural history of a region. He hopes to play a role in finding and defining a contemporary design style specific to the region.
"We need to know where we are coming from in order to know where we are going. I firmly believe that the historic element can be the basis of modern interpretation.

"In architecture we can orientate ourselves backwards and design according to historic buildings. This, however, is a question of truth. For example, if a person built a wind tower that does not work as a wind tower but was only a decorative element, would this be this honest? I would say 'no', but there is honesty in the visual representation of culture," he says.

I

I am fascinated by concept architecture. I like bringing substance and shape to an idea. It's like going from one medium to another (verbal to written to visual) – like a translation. The process can be very personal, especially if the design goes beyond the imagination of the client.

Everybody thinks of the perfect house on a hill with a saddle roof, picket fence and front yard. What about striving for what you think is not possible? Why is it that we look for innovation in everything other than our homes, but in architecture, we look for the well-known?

I think that the outside of a person's home is a statement to the world. People spend time and money designing and decorating the interiors, but do not pay as much attention to
the outside.

I believe in designing buildings that encompass local culture and complement local traditions. Recently I designed a villa on the principle of the mashrabia (wooden grid works). The design of the villa was based on a traditional idea, which is interpreted and applied in a modern way.

I have received recognition for my work, but I don't really believe that I have fully succeeded. I am still in a battle, still struggling to reach dreams that have yet to be realised. Great architecture fascinates people and gives cities new dimensions.

I strive to be able to light a fire in the hearts and minds of decision makers. I want them to translate their ideas into something greater than they imagined could be possible, to speak their language and alert them to the possibilities.

I have always been fascinated by Walt Disney, mainly because he was capable of turning his dreams into reality. He had a brilliant imagination. What I really find inspiring is that he was able to maintain a child's approach to the world throughout his life.

Me

Me and life in Switzerland

I was born in Zurich in 1973. I had a picture-book childhood. My parents, Ursula and Edwin had two sons, my older brother, Guido and myself. We had a beagle called Harry and many other animals that I brought home. I was the only member of my family who was not really into business and finance.

My parents were my mentors. My mom worked at home and supported us. Now that I am older, I appreciate this even more. Most of our activities like skiing and hiking were done together. My parents introduced us to different cultures at a very early stage by holidaying in various places like Turkey, Syria, Jordan and Morocco. Sometimes our grandparents would come along too.

Me and America

In high school, I went to the US as an exchange student where I experienced a totally different culture.
The country is very different – being wide and open with access to the sea. Switzerland is small, everything is close together and there are no vast plains. I think that this is also reflected in people's mind and thinking.

Me and architecture

I was not very interested in architecture prior to studying, but I always liked well-designed things.
Guido studied electrical engineering and then earned an MBA at INSEAD. He now works in business and finance.

I studied architecture.

I decided to study in Germany in Aachen at the border between Germany, and the Netherlands. I didn't really want to go to Germany as it was too close to home.

Me and my family

In 1999, I got the opportunity to work with signature architect Santiago Calatrava in Switzerland. After two years, my mother was diagnosed with cancer. My brother was in Hong Kong and my father was close to retirement and could not leave his job. So I quit mine to stay with her. I was deeply affected. The chemotherapy and radiation treatments took their toll.

After six months, my father retired and helped take care of my mother. She is fine now, although she still depends on medication.

My parents still live in Switzerland most of the time and travel around the world. We see each other once every few months and on holidays, but not necessarily in our home country. We always get together for Christmas.

Me and my career

As my mom began recovering, I was hired for a position with a company called Corporate Architecture and Project Management Services (CAPS). I helped in the design and branding of architecture for Cartier, Dunhill and other large luxury goods companies. Corporate architecture is employed when a corporate brand or a corporate identity needs to be translated into architecture.

Architecture becomes a marketing tool and the messages sent to the clients need to correspond with the ones in regular advertisements. This really got me thinking about how architecture can be a message carrier and the power of space modulation.

Me and travelling

I always had the urge to go abroad. After two years, my brother came back from the Far East, and it was my turn
to travel. In 2000, I went to Chile and started working for $400 a month.

I loved it. The place was fascinating and the people friendly. The country was politically isolated for a long period of time and geographically they are separated by the Andes; this allowed the country to develop an independent design language.

Me and Dubai

Chile was in a recession when I was there. My more economically minded family members encouraged me to go to a place where the economy was booming. My brother mentioned Shanghai and Dubai. I did not know much about either place. The deciding factor at the time was that tickets to Dubai were cheaper, and I was broke!

Me and Arabic

I believe language helps one learn about culture. This is the main reason I took several courses in Arabic. Even though I am grateful people here speak English, I wish Arabic was more widely spoken.

Myself

What was the idea behind the design of the Al Garhoud Bridge and other structures that you have designed in Dubai?

I designed Al Garhoud Bridge under the umbrella of Halcrow to encompass today's mindset, which is all about developing the country for the future. The culture and history of the site played an essential role. You can actually see Santiago Calatrava's influence on that design.

The Main Gate Bridge project links Palm Jebel Ali to the mainland. I designed a bridge for Halcrow and a Far-Eastern contractor. The Client, Nakheel, liked it very much and wanted to continue further. However, the engineering would have been complicated and it was a strategic decision of the consultant not to further pursue the design.

I designed a bridge that was a tube out of a mesh with ending circular frames of 107 metres in diameter. Below the street level was the metro. At the top there was a cable car that enabled the transport of pedestrians.

I try to create balance in my designs. They encompass a mix of tradition, regional environmental awareness and modernity.

The challenge is to combine opposites – to be rooted in Arab culture and to create up-to-date and cutting edge designs – because that's what Dubai is all about: having a local heart with a global mind.

What is your favourite structure in Dubai?

One of the most fascinating urban developments from a theoretical point of view is the Palm Jumeirah. It provides an iconographic identification to the area and a solution to a limited yet highly valuable commodity: beach-front property.

In terms of architecture, I think the Dubai World Trade Centre Tower is still one of the best buildings in Dubai. It reflects the contemporary while embracing tradition and considering the environment. The 'skeleton' outside not only shades the windows, but reduces the need for energy-eating air-conditioning, and provides an oblique reference to traditional patterns.

How is all of this development affecting the natural environment and how can architects help?

Any development has an impact on the environment. The question is how much that impact is. I believe one should be as careful as possible without stopping the cultural and economical development of the society. So, for example, ensure proper insulation, tight windows, shading devices and so on when it comes to architecture.

On an urban scale, I believe it would be helpful to have a more pedestrian-friendly environment. This means building with a higher density and variety (as in historic city centres), which isn't really possible if the urban structure is planned around the dominant form of transport, the car. I'm hoping that the metro will have a positive impact on Dubai.

That said, environmental thinking does not end with architecture. Green buildings help, but it all starts with the individual.

For more information log onto
www.acmeyerhans.com
Sara Sayed is a freelance writer based in Abu Dhabi