Revitalisation of Muharraq

2019 On Site Review Report
by Seif El Rashidi 4567.BAH
Revitalisation of Muharraq
Muharraq, Bahrain
Architect
Bahrain Authority for Culture & Antiquities
Client
Bahrain Authority for Culture & Antiquities
Design
2010 - ongoing
Completed
2013 - ongoing
Muharraq, Bahrain
I. Introduction
This project involves the rehabilitation of the area of Muharraq, Bahrain, formerly the centre of the global
pearling trade, and the economic cornerstone of the Bahraini nation until the 1940s. The project has
led to the inscription of Muharraq as a UNESCO World Heritage Site. Developing organically from an
initial intervention in the early 2000s, it has evolved into an exemplary integrated urban conservation and
revitalisation scheme for the Muharraq Pearl Route, starting with three protected oyster beds off the coast of
Muharraq Island, and moving inland to encompass a historic fort, a large number of historic buildings linked
to the pearl industry and trade, and a wide range of contemporary interventions to ameliorate the public
space, create a network of community public spaces, and introduce sensitive architectural interventions to
enable the neighbourhood to serve its local community and to thrive as a cultural hub. The project combines
restoration, urban upgrading and contemporary architectural design. It involves significant partnerships, and
effective systems of urban governance and management.
II. Contextual Information
A. Brief historical background
Muharraq thrived in the 19th century as the capital of Bahrain, then one of the global centres of the pearl
industry. This highly specialised industry was of worldwide relevance, given the international market
for pearls, and gave Bahrain strategic importance as a trade centre. The series of tiny islands sustained
themselves through trade, not just of pearls but thanks to their strategic location across several trade routes,
connecting the Indian Ocean with the Arabian Peninsula, the Middle East, West Asia and, indirectly, Europe.
The thriving pearl economy consisted of a number of specialisms including pearl diving, pearl sorting, boat
manufacture and international trade. Bahrain’s importance thus far exceeded its small size.
The dearth of natural resources meant that many materials were imported, and thus even the indigenous
architecture relies on imported raw materials such as wood. That said, imported materials do not seem to
have been in short supply.
The pearling industry thrived until the 1930s when the development of cultured (rather than natural) pearls
destroyed Bahrain’s commercial importance, leading to the economic decline of Muharraq. The rise of the
oil industry later transformed Manama into a small but bustling capital city, while Muharraq faded into
relative obscurity. As an impoverished area, it has become the home of large numbers of migrant workers
from India and Pakistan. Most of these are “bachelors” who live in shared houses to economise on rent.
The increase in the number of bachelors has driven some local families out, as they feel the area could be
inappropriate for family life. The project is trying to encourage an influx of Bahrainis back into Muharraq,
even if they no longer reside there.
B. Local architectural character, including prevalent forms and materials
The traditional houses of Muharraq are coral structures ranging between one and three storeys. The houses
are generally modular in plan, with a number of rooms surrounding a large courtyard, often accessed
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through a bent entrance. Many houses have one or more “rooftop” rooms, a bit like belvederes, exposed
to the wind on four sides. Systems to maximise wind capture include wind towers (although many of
these were destroyed in the late 20th century) and series of discrete vents to allow air into the residential
spaces, as well as allowing the movement of warm air out. Interior spaces are decorated with incised stucco
decorative panels, and upper-storey spaces have coloured glass windows. Some spaces are preceded by a
portico. In the case of residential buildings on commercial streets, many of them have long, façade-length
shuttered balconies, traversing the entire façades of the buildings. Houses that were once on the sea front
have expansive wide balconies, which are not often shuttered.
Commercial buildings (amarat) consist of long plots. Their architecture is also of coral, with recesses used
on the upper sections of the walls to minimise the load. Wooden branches are used as tie beams. Many such
structures have date presses at ground level, a large number of which still survive. These were used for the
manufacture of date molasses.
The roofs of all of the buildings consist of reed mats (barasi) placed on tree branches. In some of the grander
spaces, the wooden roof construction is hidden behind wooden panelling, but this is rare.
The post-1940s architecture shows an interesting evolution of the traditional Muharraq house. While the
architectural typology remains more or less the same, new construction materials, including concrete, led to
the introduction of some new elements such as pilotis. Houses from this period also feature claustra made of
cast cement and other materials, Crittall metal windows and terrazzo floors. Steel I-beams are occasionally
used as well. Proportions change slightly due to the fact that many of these items are mass-produced. In
some houses from this period, the traditional interior stucco-work panels are still to be found, however.
Many building materials were imported due to the remarkably small size of the country, and its strategic
location and mercantile culture. Even glass panes were imported, for example.
C. Climatic conditions
The climate is extremely hot and humid during the summer (the humidity due to the island nature of
the country). Climate in spring and summer is temperate. Bahrain can be very windy, making it easy to
understand how and why a number of wind-related features developed in its architecture.
D. Immediate surroundings of the site, including architectural character, access, landscaping, etc.
The architecture of Muharraq generally consists of two- to four-storey-high buildings, most of which are
painted white, and most of which are simple from the exterior. The landscape is flat. To the west is the island
of Manama, with a noticeably more modern (and higher) skyline of glass tower blocks on the sea front.
The traditional historic core of Muharraq has lost its immediate connection to the sea due to land reclamation
to expand the size of the island. This area includes a large road on the western edge of the newly reclaimed
area. One redeeming factor about the reclamation is that it enabled the introduction of the modern road
network without compromising the integrity of the historic fabric.
Traditional vegetation includes palm trees and various shrubs and bushes. (The traditional plant life is very
well represented in the Archaeologies of Green Pavilion which focuses on local food-producing plants and
trees.)
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E Topography of the project site
Generally flat.
One significant element of natural landscape is Muharraq’s last remaining beach, with its fort and newly
constructed welcome centre – demonstrating through a series of models the extent of the Pearl Route and
the main components of the trail. Visitor access from Manama and other places is normally by boat, except
when weather conditions make access by land necessary.
III. Programme
A. History of the inception of the project; how the project was initiated
This remarkable project germinated from an initial intervention by Sheikha Mai Al Khalifa to reinstate a
cultural majlis (salon) which had been initiated by her grandfather (Sheikh Ebrahim Al Khalifa) in his home
in al-Muharraq, formerly the capital city of Bahrain. Although almost all of the original house had been
lost, the idea was to revive the cultural life of an area that had declined significantly since the demise of
the pearl industry in the 1940s. Since the inauguration of the new majlis (the Sheikh Ebrahim Al Khalifa
Centre for Culture and Research) in 2002, Sheikha Mai has led an ever-expanding programme of cultural
revitalisation, leveraging support from a wide range of institutions including banks and local businesses,
as well as creating private–public partnerships with descendants of the former pearling families who still
own property in the area, much of which was terribly dilapidated. The initiatives led by Sheikha Mai were
founded on the belief that the reintroduction of cultural life into a neglected area, combined with an integrated
programme of restoration and rehabilitation, could reverse its decline. This vision was coupled with the idea
to recognise the outstanding universal value of Muharraq as the heart of the global pearl industry, leading to
the inscription of the site by UNESCO, and the reawakening of the memory of al-Muharraq and its legacy
among the people of Bahrain. Because of her successes (and tenacity) Sheikha Mai was appointed Minister
of Culture in 2010. Today she is the Head of the Bahraini Authority for Culture and Antiquities.
Today the project can be summarised as follows: The restoration and rehabilitation of 16 historical buildings,
many of which had links to the pearl trade, ranging in scale from the smaller coastal divers’ homes, to the
expansive courtyard houses of some of Bahrain’s richest families, to amarat (commercial structures and
warehouses, once on the sea front but now inland due to land reclamation); the development and delivery
of an integrated public space upgrading scheme, including the conversion of the sites of demolished houses
into a series of interconnected neighbourhood squares serving the local community; and a ‘route’ (in its
broadest sense), from the last remaining beach in Muharraq all the way through the neighbourhood, with
the public realm upgraded through a dual lighting and way-finding network of tall light fixtures – creating a
subtle yet visible discrete intervention that guides visitors, while illuminating the otherwise dark streets for
the residents. The 15-year-long initiative has included a significant number of new cultural spaces (including
auditoria, some of which are used for the performance of traditional Muharraq music including the songs
sung by pearlers at sea). Fantastic new architecture has also been introduced into the neighbourhood very
skilfully – examples include the Archaeologies of Green Pavilion (2015), the House of Architectural Heritage
(2018) the Pearling Path Visitor and Experience Centre (2018), and the Dar Al Jinaa Centre for Traditional
Music (2017).
The project has also instituted a comprehensive urban management system to ensure that urban change and
development is fully in keeping with the project’s overarching objectives. The Pearl Route team review all
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planning applications and have the authority to control building development, therefore effectively managing
urban change. Detailed surveys of physical and social conditions underpin the programme, and the fact
that the project offices are located in the area has proven to be a beneficial way of truly understanding the
neighbourhood.
B. How were the architects and specialists chosen?
The architects and specialists were chosen through competitive tender processes and, in recent years
especially, many of these tenders have attracted international architects.
C. General programme objectives
The original programme objective – to revive the cultural majlis of the late Sheikh Ebrahim Al Khalifa
– quickly evolved into a much larger vision to revitalise al-Muharraq and to reverse its decline. It can be
said that the objectives of this programme have been twofold: to preserve, upgrade, restore and revitalise
a valuable yet under-appreciated historic settlement, and to raise awareness about the heritage of Bahrain
among local residents and visitors alike, using urban upgrading and heritage as a catalyst to stimulate a
declining area, and to make al-Muharraq the heartland of cultural life in Bahrain.
The programme involves developing and delivering a wide range of architecture, urban design and urban
conservation projects as well as managing change in the historic environment.
D. Functional requirements (i.e. architect’s brief)
For the public spaces: a robust design that would convert informal parking areas and vacant plots into a
series of neighbourhood spaces that could foster the sense of community, and improve amenities available
to local families. The intervention needed to be durable enough to last. In aesthetic terms, a simple way-
finding system that would encourage movement through the Muharraq neighbourhood was required. For the
paving, a cost-effective paving system that would enable infrastructure management was needed.
For the conservation work, initially what was required was an approach to conservation that preserved
al-Muharraq’s existing historic buildings within an urban context. This led to a remarkably thorough
exploration of typologies, and an understanding of their history, construction techniques and materials –
and the development of a strategy for restoring them. The directive from Sheikha Mai was that she wanted
things to be done well. A thorough management plan and urban conservation plan were produced as part of
this project.
For the architectural projects, these have take place over the course of almost two decades, and the approach
has evolved as the project has matured. The first architectural commissions focused on creating modern
facilities to revive al-Muharraq, while staying in keeping with the built forms and massing of the historical
fabric. Over the past five years, the briefs for newly commissioned buildings have been far bolder: seeking
architecture that is fully appropriate without disappearing into the historical urban fabric. The use of
exposed concrete in several examples, and chain mail in another, is a reflection of the project’s openness to
unashamedly modern architecture. In many of the recent projects, a stipulation that new buildings should
retain some traces of the structures that previously occupied the site has been put in place, as a way of
ensuring that the memory of the city is not obliterated through modern design.
Overall, the approach has been one in which buildings, interventions and projects reflect the past somehow,
be it through forms, massing, patterns and relationships or through historical fabric. With a project as wide-
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ranging and long-lasting as this one, there has been scope for differing interpretations – meaning that the
interventions themselves are as organic as the historic city itself.
IV. Description
A. Building data: volumetry, massing, number of units, surface in square metres, etc.
The area covered by the Pearl Route is 330,000 square metres, encompassing thousands of buildings, and 18
public spaces, converted from derelict sites as mentioned above. The number of actual physical interventions
apart from urban space is around 20 discrete projects, but this is a scheme without end, and the project team
is always looking ahead and commissioning new work.
B. Evolution of design concepts, including:
1. Response to physical constraints – siting, climate, plot ratios, etc.
Urban scale: The physical constraints include the harsh climate, and substantial research has gone into
selecting shade-giving trees that are appropriate to the climate, including several indigenous species. The
plots are determined by existing spaces within the city; most have been converted into small public squares,
but the largest of these are earmarked for development as multi-storey car parks.
Contemporary architecture: Contemporary interventions have respected the form and scale of the historic
environment, and also its urbanity. New interventions have respected the historical street line – which has
always been important given the scarcity of land.
Planning regulations: This project is also in charge of reviewing and approving all planning applications
submitted by members of the public. One main planning approach is to encourage as many applicants for
demolition as possible to consider restoring their houses rather than demolishing them. One intelligent
policy has been a stipulation that any development scheme must retain at least one space from the original
building on the site – so that the past is not totally obliterated. New development schemes must also respect
the original street line and massing, and the original dimensions of plots.
2. Response to user requirements; spatial organisation
Many Bahrainis complain that one problem in Muharraq is the difficulty of vehicular access and parking.
Over the past few decades, the sites of demolished houses have become informal car parks. These spaces
have now been reclaimed by the project and converted into the small neighbourhood squares previously
mentioned. However, the project has also earmarked four large plots for the construction of multi-storey
car parks in strategic locations across Muharraq in order to ameliorate parking and access. These multi-
storey car parks will provide over a thousand parking spaces and have been designed as high-quality
contemporary architecture, in keeping with the project’s approach of encouraging modern interventions to
look contemporary rather than masking them as historic buildings.
A number of community-focused initiatives have been implemented, specifically to address shortcomings in

the provision of community services which have made al-Muharraq a somewhat challenging environment
for modern Bahrainis. For example, community facilities for children were previously lacking and the
project has provided these in the form of library/play spaces. The newly created neighbourhood squares
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have been designed specifically to accommodate families and children playing and spending leisure time.
At the level of buildings, new architecture responds to the programme required for each facility. One of the
challenges has been to convert previously domestic spaces into public facilities. The project has done this
successfully, creating auditoria in the heart of the historic city where the public can interact with a wide
range of events and activities that would have otherwise been unthinkable.
3. Purely formal aspects – massing, articulation of façades, decorative features, use of traditional motifs, etc.
Contemporary architectural interventions have generally respected the exterior simplicity of Muharraq’s
architecture, and are generally devoid of decorative elements, but rely on the interplay of mass and void.
Some of the new buildings have used this quite playfully, especially the new Visitor Centre, with its
skylights of different shapes, recalling the forms of the slabs of coral used in traditional building. Its towers,
too, recall an architectural feature that once would have dominated the skyline in Muharraq. Most of the
other contemporary structures are less monumental – for example, the horizontal Archaeologies of Green
Pavilion, and the House of Architectural Heritage.
4. Landscaping
Much of the landscaping consists of urban landscaping, including a preponderance of terrazzo surfaces,
which are durable and can also be shaped easily. The way-finding system consists of cast grey terrazzo
columns with flecks of oyster shell, surmounted by a white globe. Very practical, yet also full of symbolism
for those who find comfort in symbolic design. Simple yet playful shapes are created with the benches in the
series of neighbourhood squares, some of which have an irregular pattern of slabs and water features – the
asymmetry is very effective.
C. Structure, materials, technology
The range of technologies used here is vast, depending on the type of sub-project.
For the conservation aspects of this project, a meticulous study of traditional building materials has been
undertaken, including material analysis (especially of renders). Conservation work tries to be as true as
possible to the original construction materials and pigments.
With respect to new architectural interventions, buildings constructed in the earlier part of this project’s
life tend to be whitewashed, recalling the render of the traditional Muharraq buildings. Newer construction
has tended to use rough-cast concrete – not out of place in an area where much of the architecture has
been utilitarian for several decades. Inventive use of chain mail to create a covering over the Dar Al Jinaa
music centre has created a fascinating building, allowing sound to resonate through the neighbourhood and
securing good views out of it, while screening the harsh glare and presumably ensuring a constant breeze.
1. Structural systems; in restoration projects, structural interventions
For modern architectural projects, most construction is reinforced concrete. For conservation work,
interventions respect traditional building techniques. Where coral blocks are needed, these are reclaimed
from the rubble of demolished buildings. Structural interventions in conservation work (for example,
replacing damaged ceilings etc.) is undertaken using the traditional construction techniques, except in some
cases where pre-rusted iron columns were used for support of existing roofs or to support new interventions
– such as a modern extension for a traditional space used as a café.
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2. Materials
Structural members
Reinforced concrete for most modern constructions. Wooden beams for the oldest houses, sometimes
augmented with I-beams in 20th-century structures.
Infill materials
For localised repair, traditional building materials are used whenever possible. Pre-rusted steel columns have
been used for additional support when necessary. At streetscape level, infill materials include interlocking
cement blocks, and terrazzo benches, surfaces and lighting fixtures.
For larger-scale interventions reinforced concrete is used frequently.
Renderings and finishes

For conservation work, painstaking research has been undertaken to analyse the components of historical
finishes, and to recreate these. Also in conservation work, original paint has been stabilised and cleaned,
rather than repainted. (This has a significant bearing on the visual aspects of historic buildings, which have
not lost the sense of historical integrity.)
3. Construction technology
New buildings: reinforced concrete for the most part. Traditional buildings: coral blocks with wooden
ceilings, although mid-20th-century constructions also make use of reinforced-concrete skeletons.
4. Building services, site utilities
An extensive system of street lighting has been put in place, and other infrastructure has been afforded
a very high level of care and attention to ensure that it does not let down the architectural interventions.
A new public bin system has also been introduced, to ensure the effective management of solid waste.
In public squares where planting has been extensive, an underground structure to prevent tree roots from
spreading too far and damaging the foundations of historic buildings has been put in place.
D. Origin of:
1. Technology
The conservation technology related to the historical buildings is informed by the buildings themselves,
including those from the “transitional phase” from the 1940s onwards. The project continues to make use of
traditional building construction technology – the result of extensive technical research.
Much of the contemporary architecture employs reinforced concrete, which has been used in Bahrain for
the past 80 years at least. Some buildings are much less conventional, for example the Dar Al Jinaa music
centre, which is a concrete structure cloaked in a metal chain-link covering (a bit like a curtain). While this
is non-traditional, it is very effective. This building also has a wooden middle envelope (consisting of doors
that open to create a translucent structure). In fact, it is a cloaked multi-layered structure.
2. Materials
Many building materials are imported. This has always been the case in Bahrain, which has always had
limited raw materials due to its tiny size, but its connectivity and history of trade have meant that its
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architects have always had access to a vast range of building materials (including wood and glass from the
east). One local material is coral stone, which was widespread historically.
3. Labour force
The labour force is local.
4. Professionals
The professionals involved in this project come from diverse backgrounds. Architectural competitions held
related to the commissioning of major new projects have attracted talented professionals from around the
world.
V. Construction schedule and costs
A. History of project design and implementation, with dates
Commission: 2010
Design: 2010 – 2013
Completion of first phase: 2013
B. Total costs and main sources of financing
Total: 92,000,000 USD

Cost of land: 26,000,000 USD
40,000,000 USD came from a loan from an Islamic bank
C. Comparative costs (if relevant)
Not applicable.
D. Qualitative analysis of costs (per square metre, per unit, etc.)
280 USD per metre.
E. Maintenance costs (heating, cooling, etc.)
Hard to quantify cost of maintenance with a project as diverse as this one.
F. Ongoing costs and “life performance” of building, in terms of materials, maintenance, etc.
Again – impossible to quantify given the project range.
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VI. Technical assessment
A. Functional assessment (use)
A multitude of uses, ranging from everyday community use (for the public space upgrading) to commercial
use (for the buildings in the souq – many of which serve their original purpose) to cultural activities and uses
(for many of the restored houses) to tourism (for the route itself, including the visitor centres).
The various project components function very well, improving the quality of life for a wide range of people,
most notably for residents of Muharraq who benefit from a significant improvement to the public realm.
Local residents now have access to a range of community facilities (such as libraries which provide families
with welcome facilities), as well as a range of cultural activities, including traditional music venues. The
investment in upgrading the area has also stimulated local tourism, and rekindled the interest of Muharraq
families who had moved out of the area, as well as that of Bahrainis in general. It serves the entire nation.
B. Climatic performance, lighting, natural and/or mechanical ventilation, sun control, insect control,
acoustics, orientation, etc.; description of systems developed and utilised
In the case of new construction, traditional elements such as wind-catchers have been incorporated into the
design (for example, in the new Pearling Path Visitor and Experience Centre, which uses them for a range
of infrastructure purposes). The creation of breezy shaded areas has been successfully incorporated, not just
in new buildings, such as the visitor centre and the Pavilion, but in the public spaces as well.
With the restored historical buildings, all missing traditional features have been reinstated, including
ventilation systems which have always been integral to the architecture.
C. Response to treatment of water and rainfall; discharge of water, and retention and release system(s), if
any
Not applicable.
D. Environmental response; adaptation to the natural environment; adaptation to native flora and fauna
Protecting the natural environment has been carefully thought about in this project – from preserving the
remaining oyster beds, to the remaining stretch of beach, to the trees that still grow in the heart of many of
the neighbourhood’s houses. In parallel, The Archaeologies of Green Pavilion, by cultivating indigenous
species, reminds Bahrainis of their traditional flora. This is especially pertinent to young Bahrainis who will
not remember a time when indigenous fruit-bearing trees and shrubs were extremely important and had a
significant bearing on diet.
E. Choice of materials, level of technology
For street paving: durable materials such as interlocking bricks and terrazzo for street furniture and way-
finding lighting fixtures.
For new construction: exposed reinforced concrete, in some cases tinted to give it a warmer tone.
For historic preservation: materials replicating the original ones – with great care taken to do this very
accurately.
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F. Response to, and planning for, emergency situations, i.e. natural disasters, floods, winds, fires,
earthquakes, etc.
The architecture responds to winds, which are a prevalent feature in this island environment. Provision for
fire prevention is made by using modern alarm systems.
G. Ageing and maintenance problems
None were observed during the site visit.
H. Design features: massing and volume, articulation of spaces, integration into the site (topography and
neighbouring buildings)
There is a sensitivity towards the urban context, seen in the enforcement of planning policy to make sure
that new construction respects the scale and massing of the historic environment, and reflects its urban
nature and the scarcity of land, by ensuring that new construction is not set back from the street.
Modern buildings in general are in keeping with the urban scale and form. Perhaps only the Pearling Path
Visitor and Experience Centre is larger and higher than many of the traditional buildings, but this is located
on a modern street in the area of land that had been reclaimed from the sea, and so is different in feeling from
the traditional urban environment behind it.
New architectural interventions are excellent in terms of the way they fit into their context. They are clearly
contemporary yet blend in by respecting scale, proportions, fenestration rhythms etc.
I. Impact of the project on the site, in terms of increased circulation or vehicular movement, changes
required for infrastructure (particularly for projects in high-density areas), etc.
Although no traffic pressure is immediately evident to an outsider, local residents who had moved out
of Muharraq noted that one of the area’s problems was a lack of parking space – a problem that would
have increased slightly with the conversion of vacant plots used informally for parking into neighbourhood
squares. The project has already thought ahead, and acquired large vacant plots in the neighbourhood for the
construction of municipal multi-storey car parks to complement a privately owned one that was built a few
years ago.
J. Durability and long-term viability of the project
This is a project that has taken off, acquiring an energy of its own, and providing Bahrain with a new cultural
dimension, using heritage and the historic city of Muharraq as a driver. The cultural institutions established
in the city, the urban space improvements, and the investment in the area as an alternative to the more
commercial projects of other parts of the city, have meant that it has filled in a gap in Bahraini life. What
is most encouraging is that the systems of urban management required to sustain such a project have been
effectively tackled (like the fact that building applications are dealt with by the project team at the Authority
for Culture), which means that there is control and an integrated approach to the urban management of the
area. The inscription of Muharraq as a UNESCO World Heritage Site was a very intelligent move to give the
project legitimacy, and help raise local awareness. It also means that even when Sheikha Mai is no longer in
control, there will be checks and balances in place to ensure the project’s survival.
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Positive indicators of success include the fact that the commercial enterprises that are set up in Muharraq,
such as local cafés and private architectural studios as well as a firm of conservation contractors, appear to
be thriving, and this means that market forces are working.
One encouraging thing is that the prices in the new cafés are not more expensive than any other place in the
city and are therefore affordable to people from many walks of life.
A very telling statistic is that the number of applications for demolition in Muharraq is decreasing, indicating
that perspectives are changing thanks to the project.
Statistics of Permits in BACA:

Total no. of Total no. of Percentage of Percentage of
received demolition demolition pending cases
applications applications applications
In 2016 247 75 30.63 % 25.1 %
In 2017 345 98 28.4 % 15.65 %
In 2018 359 47 13.1 % 8.07 %
In 2019 – from
January to the end 105 8 7.6 % –
of March
Notes:
• In 2017: The number of applications increased due to the widening of the permit control area to include
areas like Old Manama.
• From 2016 to 2019: The percentage of demolition applications decreased from 30.63% to 7.6%.
K. Ease and appropriateness of furnishings; interior design and furnishing
What is relevant to note is the street furniture, which is simple but yet playful and also durable – the terrazzo
benches being a good example.
I nterior furnishings of the houses are also very well chosen, consisting mainly of a natural palette and
materials, including many that are typical of the region. Natural and tan-coloured linens and natural wood
give many of the interiors a contemporary feel.
VII. Users
A. Description of those who use or benefit from the project (e.g. income level, socio-cultural profile, etc.)
A very wide range. Many of the inhabitants of Muharraq are “bachelors” – single men working in Bahrain in
shared accommodation. These are often migrant workers who do not have huge incomes and who economise
to save money to send back home. There are also traditional Muharraq families who still live there, although
many of the wealthier families have moved away. Some of these still retain a sense of pride and great
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interest in Muharraq, and have been attracted back by this project – and encouraged to invest their own
resources in reviving their family homes. The cultural venues initiated by this project cater primarily to a
local audience, but not exclusively so, as the visual and performing arts components appeal to all.
The infrastructure improvements ameliorate the quality of life for local residents and visitors to the area,
as do the community facilities. Many beneficiaries are not exceptionally wealthy: unlike its neighbours,
Bahrain is not an exceptionally rich country and Bahrainis from all walks of life exist: from taxi drivers,
who are by law Bahraini, to elite members of society.
B. Response to the project by clients, users, community, etc.
1. What do architectural professionals and the cultural “intelligentsia” think about the project?
In general the project is very well respected and liked by the cultural intelligentsia, from Shadia Touqan
the UNESCO representative, to well-educated Bahrainis, to the key actors in the historic city, including
landowners.
The project has attracted interest from the international architectural community as well.
The following description by critic David Huber about one of Muharraq’s new buildings is a good reflection
of the sort of attention the project has attracted. This is just one comment, out of many: “In its subtle effects
and judicious execution, the Dar Al Muharraq is a mirror image of most high-profile buildings in the Gulf
region. In Doha, a quick 45-minute flight away, the procurement of new educational and cultural buildings
by I.M. Pei, Jean Nouvel, Rem Koolhaas, Arata Isozaki, and others has about as much imagination as
one of those perennially marked-down doorstops by cool hunter Philip Jodidio. Perhaps because Bahrain
lacks the deep pockets of its neighbour to the south it must shrewdly develop less-established talent rather
than license brand names (the total cost of the dar, including the renovation of an existing private dar next
door, was $850,000). But I observe a sense of obligation to the discipline, and curiosity. As the head of
architectural affairs for the culture authority, Noura Al Sayeh, explains, ‘you don’t know what the next step
of their practice will be.’ This twofold approach to patronage – commissioning projects that are both new for
an architect’s body of work and for the place where they are built – is effective in part by how it mediates
desired aesthetic outcomes and material circumstances.”
2. What is the popular reaction to the project?
Bahrainis with links to the history of Muharraq are very excited by the project, and by the fact that it is
revalorising an area of great significance to them, which had fallen into decline. They foresee that younger
generations will be attracted back to Muharraq, and that the current project will reap long-term benefits.
They are also appreciative that practical concerns like parking provision have been taken into account. In
many ways, this project seems to have awoken the phoenix of Muharraq – the area is rising from its own
ashes, and reviving local consciousness and memory in a half-forgotten neighbourhood.
3. What do neighbours and those in the immediate vicinity think about the project?
Many local neighbours who were originally puzzled, sometimes sceptical, and in some cases initially hostile
to the project and its intentions have become its supporters, especially as the physical improvements to the
area have become apparent. Today, little explanation is needed to demonstrate the project’s merits, not just
to people in Muharraq, but to those in Bahrain in general. According to the project team, showing sceptics
12
(and people contemplating demolishing their houses) what has been achieved is now usually enough to
convince them that there is merit in the urban conservation approach.
VIII. Persons involved
A. Identification of project personnel and their roles in the project (e.g. client, architect, planner, consultant,
craftsmen, etc.)
Muharraq Urban Rehabilitation Project
Sheikh Ebrahim Al Khalifa Centre for Culture and Research

• President and founder: Sheikha Mai bint Mohammed Al Khalifa.
• Board of Trustees: Aisha Mattar, Sheikha Latifa Al Khalifa, Hassan Kamal.
• Project team: Ezmeralda Qabbani, Melissa Enders-Bhatia.
• Architects
• Nuzul Guest House and Kurar House for Traditional Embroidery: architects Gulf House Engineering,
interior design Habib Associates, contractor EWAN Al Bahrain
• Memory of the Place – Bin Matar House: architects Habib Associates, contractor EWAN Al Bahrain.
• Research Library: architects Atelier Bow-Wow, contractor GCT.
• House for Architectural Heritage: architects Noura Al Sayeh and Leopold Banchini, contractor EWAN
Al Bahrain.
• Street paving and public spaces: architect Studio Anne Holtrop, contractor GCT.
Pearling Path, Testimony of an Island Economy

• Client and initiator of the project: Sheikha Mai Al Khalifa, President of the Bahrain Authority for Culture
& Antiquities.
• Director of the project: Noura Al Sayeh.
• Head of urban conservation: Ghassan Chemali.
• Head of urban conservation strategies: Alaa Al Habashi.
• Coordinator of the nomination dossier to the UNESCO World Heritage List: Britta Rudolff.
• Project team: Shatha Abu El Fath, Ahmad Abd El Nabi, Mario Affaki, Alaa Al Habashi, Fatema Al
Hayki, Ahmad Al Jishi, Amal Al Saffar, Batool Al Sheikh, Lulwa Al Malood, Mustafa Al Zurki, Ronan
Dayot, Wissam Fadlalah, Lucia Gomez, Yehya Hassan, Ali Marzooq, Marwa Nabeel, Tamer Nassar,
Faisal Soudaga, Shadi Taha.
• Building project teams:
• Pearling Path Visitor’s Centre – architect Valerio Olgiati in collaboration with Emaar Engineering,
contractor AlMoayyed Contracting group;
• Pearling Path Squares – Bureau Bas Smets and OFFICE Kersten Geers David Van Severen in collaboration
with Gulf House Engineering, contractor Aradous Contracting;
• Archaeologies of Green Pavilion – architect Studio Anne Holtrop, landscape architect Anouk Vogel,
structural engineering Mario Monotti and Gilbert Van der Lee, contractor Restaura Srl and GCT Bahrain;
• Dar Al Jinaa – architects OFFICE Kersten Geers David Van Severen in collaboration with Emaar
Engineering, contractor Almoayyed Contracting Group;
• Visitor Centre at Bu Maher Fort – architect PAD architects, contractor GCT;
• Suq Al Qaysariyyah rehabilitation, and conservation and rehabilitation of Siyadi and Murad clusters
and Sheikh Isa bin Ali House – architect Studio Anne Holtrop, structural engineer Mario Monotti,
conservation architect Gaetano Arricobene, landscape design Madison Cox, contractor Almoayyed
Contracting Group.
13
Muharraq Conservation Plan: Jean-Bernard Cremnitzer
Muharraq Mobility Study: Systematica
In the pipeline:
• Conservation and rehabilitation of Fakhro, Al Jalahma, Turabi and Badr Ghuloum Houses – architect
Studio Gionata Rizzi in collaboration with Franco Pianon, Marco Motisi and Samira Konampour;
• Multi-storey car parks – architect Christian Kerez in collaboration with Arsenals Engineering;
• Pearling Path Pedestrian Bridge – architects OFFICE Kersten Geers David Van Severen in collaboration
with Ismail Khonji Associates, contractor Al Ghanem Contracting.
IX. Bibliography
A. List of publications
There are a huge number, including:
• Investing in Culture
• Pearling Path: Testimony of an Island Economy
• Archaeologies of Green: Bahrain’s National Pavilion at the Expo Milan 2015.
• https://www.aramcoworld.com/pt-BR/Articles/September-2017/Bahrain-s-Pearling-Path
• https://www.architecturalrecord.com/articles/13926-pearling-path-visitors-center-by-valerio-olgiati-
architect
• https://www.aramcoworld.com/pt-BR/Articles/September-2017/Bahrain-s-Pearling-Path
• https://www.dezeen.com/2019/02/03/bahrain-gallery-leopold-banchini-house-architectural-heritage-
muharraq/
• https://www.dezeen.com/2019/04/20/valerio-olgiati-canopy-pearling-path-concrete-architecture/
• https://www.dezeen.com/2015/05/12/bahrain-pavilion-milan-expo-2015-anne-holtrop-interview/
• https://escapinglife.com/streets-muharraq-bahrain/
• https://www.researchgate.net/publication/322330738_The_Rehabilitation_of_the_Muharraq_
Historical_Center_-_Bahrain_A_Critical_Narrative
• http://davidhuber.info/office-kgdvs-dar-al-muharraq-bahrain/
Seif El Rashidi
May 2019
14
The last remaining
beach in
Muharraq, with
Manama in the
background. This
is where the Pearl
Route begins.
A series of
models showing
completed “hubs”
in Muharraq.
Traditional Muharraq architecture. Many houses have a belvedere type room with windows on all four
sides.
Traditional roofing materials of

Muharraq architecture. The beams are
usually from mangrove trees.
Traditional buildings on commercial streets tend to have long

shuttered balconies.
Work in progress. Restoration of a
historic house as well as the upgrading
of the public realm, two of the
components of the Muharraq Project.
Restored house of a wealthy merchant.
Traditional Muharraq woodwork.
A newly restored house, soon to be used for community

purposes.
The project has reinstated many lost
windcatchers, often demolished by
municipal authorities in the past.
One of Muharraq’s
completed
neighbourhood
squares. The
light posts are
the scheme’s
wayfinders -
visible, distinctive,
durable, and
appropriately
pearlshaped.
Another of Muharraq’s completed
neighbourhood squares with similar
language. This one is very popular with
children.
General view of the Pearling Visitor Centre, a bold new building offering plenty of shaded public
space.
“House for Architetural Heritage”by El Sayeh and Banchini
in its historic urban context.
The “House for Architectural Heritage” and in the background a colourful work by El-Cid.
The Brutalist “House for Architectural Heritage” by El Sayeh and Banchini. The willingness to
embrace the contemporary is very unusual in an urban conservation project and very refreshing.
“The Archaeologies of Green Pavilion” is conceived as a continious landscape of fruit gardens. The
pavilion is acclaimed as one of Bahrain’s best buildings.
Dar Jinna music hall that can open up to form a multiple
level “neighboorhood square.” The chain mail screen creates
a remarkable translucent building.
Bahrain
Architect Various architects

Client Various clients
Design 2010 - ongoing
Completed 2013 - ongoing
This site, inscribed on the UNESCO World Heritage List, is an exceptional testimony to the pearl
trade in the Arabian Peninsula, on which Bahrain thrived during the 19th century. In a visionary
effort to maintain the spirit of this historic city a number of conservation projects as well as some
new buildings and schemes for the public spaces have been implemented by an NGO and the
government. A part of the project, titled “Pearl Route” and consisting of architectural properties,
oyster beds and parts of the seashore, encapsulates every aspect of the pearling economy. A
pathway allows visitors to discover the historical area, along with a newly built visitor centre and
two public squares. It is an ongoing project on a great scale, which aims to conserve and adapt
4567.BAH ancient structures, as well as create new ones and make them coexist harmoniously. This broad
project demonstrates a sensitive approach to heritage conservation and contemporary public space
2019 Award Cycle planning.
15c Siyadi
Mosque
Pearl
Pearl Route
Route
15b Siyadi
Majlis
Muharraq, Bahrain
Muharraq, Bahrain 4567.BAH
Architect Bahrain Ministry of Culture
Architects Muharraq,
Bahrain Bahrain
Ministry of Culture
15a Siyadi
House 15 Pearling, Testimony of an Island Economy
& Antiquities
Client Bahrain Ministry of Culture Nūkhidhah
Manama, Bahrain 14
& Antiquities House
Client Bahrain Ministry of Culture
November, 2015
& Antiquities 13c ‘Amārat
Commission 2010 Ali Rashed
Manama, Bahrain
Design 2010 – 2013 Fakhro (II) Submitted by:
Construction
Commission 2011 – 2013
1995 Bahrain authority for culture and
antiquties BACA
Occupancy
Design 2013
2010-2013 13b ‘Amārat 14
Construction 2011-2013 2 Ali Rashed
Site 330,000 m Fakhro (I) The Pearling Testimony of an Island Economy, is a serial site,
Occupancy 2013 inscribed on the UNESCO World Heritage List, consisting of three
Ground Floor 13,597 m2
oyster beds, a seashore and sixteen architectural properties
Site Total Floor 13,597 m2
330'000 13a ‘Amārat
connected by a visitor pathway. Each component of the project
Yousif
Ground Floor 114'000 m2 A. Fakhro relates to one aspect of the pearling economy under which Bahrain
Costs USD 92,700,000
Total Floor 13'597 m2 thrived in the 19th century AD, and together fully illustrate the
Programme A serial site inscribed on the narrative of this economy. Each of the architectural properties will
Costs USD 92'700'000 12 Siyadi have different functions and uses. Some of them will retain their
UNESCO World Heritage shops
bloc A
13 current use, especially when this use supports the value of the
Programme A List,
serialthesite
project consists
inscribed onofthe property as described above.
three oyster
UNESCO beds,Heritage
World a seashore
andthe
List, sixteen architectural
project consists of 12 Siyadi Implementation started in early 2011 through a sample
shops conservation project of one of the site’s components, located in
properties
three oysterthroughout
beds, a seashore bloc B Suq el Qaysariya. The conservation principles adopted evolved
andMuharraq, each relating to
sixteen architectural through communication with UNESCO, experimentations on site
one aspectthroughout
properties of the pearling Murad
and material analysis.
11
economy, connected
Muharraq, each relating by to majlis
a visitor In parallel, many measures were taken for the protection and
one aspectpathway. This
of the pearling
pathway includes
economy, connected 18 bypublic
a 10 Murad
12 management of the site: the property components were inscribed
on the National Heritage List, new regulations for construction in the
spacespathway.
visitor that act asThis
places of House buffer zone of the site were adopted, an emergency conservation
encounter,
pathway on plots18ofpublic
includes land team was created to attend to dilapidating houses in the same
wherethat
spaces old act
houses previously
as places of 9 Fakhro buffer zone and a permit review team was created to monitor
House demolitions and new constructions in Muharraq.
stood, and acknowledge
encounter, on plots of land the
need old
where for green
houses open spaces.
previously The visitor pathway, includes 18 public spaces that act as places of
8 Al Alawi
It is planned
stood, to conserve and
and acknowledge the encounter within the trail between residents and visitors. These
House
adapt
need forthe 16 architectural
green open spaces. It public squares are conceived on plots of land where old houses
is properties,
planned tobuild three new
conserve and 7 Al-Jalahma 10 previously stood and were demolished. Instead of rebuilding these
House properties, the squares acknowledge the needs of a contemporary
structures:
adapt the 16two visitor centres
architectural living city that is lacking green open spaces and playgrounds for
and one pedestrian
properties, build three bridge
new children.
6 Badr
structures: two visitortocentres
linking the seashore the Ghulum
andtown,
oneand highlightbridge
pedestrian the House
pathway
linking thethrough
seashore an urban
to the
design
town, andproject and façade
highlight the 6 Turabi
upgrade.through
pathway Today, four site
an urban House
components, as
design project and façadewell as a 9
visitor centre, are
upgrade. Today, four site open to 5 Al-Ghūs
House
the public, alongside
components, as well as twoa
publiccentre,
visitor squares.are open to the
4b Qal‘at
public, alongside two public Bū Māhir
squares.
4a Bū Māhir
Buffer zone boundary Seashore
Pearling pathway PS 7 6
3 Hayr
Main property
Shtayyah
Protected heritage asset
Public spaces on pathway 2 Hayr

Building Type Conservation & Adaptive Bū
Visitor center ‘Amāmah
Building Type Re-Use
Area Conservation
2019 Award Cycle 4567.BAH Projected Multi story parking
2016 Award Cycle 4567.BAH 1
HaBū-l-
Thāmah
2 4 5
4567.BAH
Pearling, Testimony of an Island Economy 4567.BAH
4567.BAH
The ambition of the project is to act as a catalyst for the rehabilitation
and urban upgrade of the Old City of Muharraq and to contribute to
a sustainable development of the city, involving the inhabitants and
creating new environmentally friendly economies.
Public Spaces- Office KGDVS & Bureau Bas Smets with Transolar Suq el Qaysariya Rehabilitation- BACA & Studio Anne Holtrop ‘Amārat Fakhro (I) Al-Ghūs House- BACA & Sahel Al Hiyari
The 18 public spaces that follow the pearl trail are designed as micro-climates The rehabilitation of the old suq of Qaysariya includes the conservation of the These two projects are the first of four completed conservation projects within
within the city through the use of natural shading and climatic devices. original souq structures along with a new construction that is compatible with the Pearl Path and demonstrate the principles of conservation applied.
the historic fabric of the suq and incorporates passive cooling methods.
99
Al Ghus House
Muharraq, Bahrain
Patron
Sheikha Mai Bint Mohammed Al Khalifa, Manama, Bahrain
Shaikh Ebrahim Centre for Culture and Research
Nuzul Guest House, Kurar House for Traditional Embroidery:

Architects: Gulf House Engineering, Manama, Bahrain
Interior: Design Habib Associates, Manama, Bahrain
Contractor: Ewan Al Bahrain, Manama, Bahrain
Memory of the House:

Architect: Habib Associates, Manama, Bahrain
Search Library:
Architects: Atelier Bow-Wow, Tokyo, Japan
Contractor: General Contracting & Trading, Manama, Bahrain
House for Architectural Heritage:

Architects: Noura Al Sayeh, Manama, Bahrain
Leopold Banchini Architects, Geneva, Switzerland
Pearling Path, Testimony of an Island Economy
Noura Al Sayeh, project director

Ghassan Chemali, head of urban conservation
Alaa Al Habashi, head of urban conservation strategies
Britta Rudolff, coordinator of the Nomination Dossier to the UNESCO World Heritage List
Shatha Abu El Fath, Ahmad Abd El Nabi, Mario Affaki, Fatema Al Hayki, Ahmad Al Jishi, Amal Al Saffar,
Batool Al Shaikh, Lulwa Al Malood, Mustafa Al Zurki, Ronan Dayot, Wissam Fadlalah, Lucia Gomez, Yehya
Hassan, Ali Marzooq, Marwa Nabeel, Tamer Nassar, Faisal Soudaga, Shadi Taha
Pearling Path Visitor Centre:

Architects: Valerio Olgiati, Flims, Switzerland
Emaar Engineering, Gudaibiya, Bahrain
Contractor: AlMoayyed Contracting Group, Al Musalla, Bahrain
Pearling Path Squares:

Architects: Bureau Bas Smets, Brussels, Belgium
OFFICE Kersten Geers David Van Severen, Brussels, Belgium
Gulf House Engineering, Manama, Bahrain
Contractor: Aradous Contracting, Al Hidd, Bahrain
1
Archaeologies of Green Pavilion:
Architect: Studio Anne Holtrop, Muharraq, Bahrain
Landscape: Anouk Vogel Landscape Architecture, Amsterdam, the Netherlands
Structural Engineering: Mario Monotti, Locarno, Switzerland
Gilbert Van der Lee, Amsterdam, Netherlands
Contractors: Restaura Srl, Vimercate, Italy
General Contracting & Trading, Manama, Bahrain
Dar Jinaa:
Architects: OFFICE Kersten Geers David Van Severen, Brussels, Belgium
Emaar Engineering, Gudaibiya, Bahrain
Bu Maher Fort Visitor Centre:

Architects: PAD architects, Manama, Bahrain
Contractor: General Contracting & Trading, Manama, Bahrain
Suq Al Qaysariyyah Rehabilitation and Conservation, Rehabilitation of Siyadi and Murad Clusters,
Shaikh Isa Bin Ali House:
Architects: Studio Anne Holtrop, Muharraq, Bahrain
Structural Engineering: Mario Monotti, Locarno, Switzerland
Conservation: Gaetano Arricobene, Milan, Italy
Landscape: Madison Cox Landscape Architects, New York, USA
Muharraq Conservation Plan:

Jean-Bernard Cremnitzer, Paris, France
Muharraq Mobility Study:

Systematica, Milan, Italy
Project Data
Site area: 330,000 m2
Cost: 110,000,000 USD
Commission: 2010
Design: 2010–2018
Construction: 2002 – ongoing
Occupancy: ongoing
Sheikha Mai Bint Mohammed Al Khalifa
President of the Bahrain Authority for Culture and Antiquities, Sheikha Mai Bint Mohammed Al Khalifa
previously served as Minister of Culture from 2010 to 2014, Minister of Culture and Information from
2008 to 2010 and Assistant Undersecretary for Culture and National Heritage at the Ministry of
Information. MA in Political History from Sheffield University, UK, she was listed as one of the 50 most
2
influential women in the Arab world by Forbes magazine in 2008. She was awarded the Watch Award by
the World Monument Fund in 2015 – the first Arab personality to receive the award – in recognition of
the singular role she has played in the preservation and protection of culture and heritage in Bahrain. In
2017 she was made the Special Ambassador of the International Year of Sustainable Tourism for
Development by the United Nations World Tourism Organization (UNWTO).
Sheikha Mai has published a number of books and articles including Charles Belgrave: Biography and
Diary (The Arab Publication Establishment, 2000), 100 Years of Education in Bahrain: The Early Years of
Establishment (The Arab Publication Establishment, 1999), Mohammed Bin Khalifa 1813–1890: The
Legend and the Parallel History (Shaikh Ebrahim Center for Culture & Research, 2014) and The
Qarmations: From Concept to State (Shaikh Ebrahim Center for Culture & Research, 2019), among
others.
Sheikha Mai is the founder of the Shaikh Ebrahim bin Mohammed Al Khalifa Center for Culture and
Research and President of its Board of Directors. An NGO that was established in Muharraq in 2002, the
Center has since hosted over 500 speakers, philosophers, poets and thinkers, who have presented their
thoughts in the its weekly lecture programme. It has conserved and rehabilitated over 25 traditional
Bahraini houses and spearheaded the urban regeneration of the historic city of Muharraq.
Under the leadership of Sheikha Mai, the Bahrain Authority for Culture and Antiquities has significantly
expanded the number of cultural institutions and programming in Bahrain, including the establishment
of the Bahrain National Theatre, the Khalefeyah Library, the Dar Al Muharraq and Dar Al Riffa for
traditional music, the Qal’at Al Bahrain site museum and the Al Khamees Mosque visitor centre, as well
as the creation of a number of cultural festivals and the inscription of three sites on the UNESCO World
Heritage List. She was the commissioner of Reclaim, Bahrain’s contribution to the 2010 Venice Biennale,
which was awarded the Golden Lion for best national participation in that year, as well as the
commissioner of the Bahrain Pavilion at Expo 2015 in Milan, which was awarded the silver medal for Best
Architecture and Landscape.
3
4567.BAH Revitalisation of Muharraq - Survey plans of main properties
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Photographer: Cemal Emden Photographer: Cemal Emden Photographer: Cemal Emden
© Aga Khan Trust for Culture / Cemal © Aga Khan Trust for Culture / Cemal © Aga Khan Trust for Culture / Cemal
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2019 On Site Review Report

by Seif El Rashidi 4567.BAH

II. Contextual Information

A. Brief historical background

B. Local architectural character, including prevalent forms and materials

B. How were the architects and specialists chosen?

C. General programme objectives

D. Functional requirements (i.e. architect’s brief)

B. Evolution of design concepts, including:

1. Response to physical constraints – siting, climate, plot ratios, etc.

2. Response to user requirements; spatial organisation

A number of community-focused initiatives have been implemented, specifically to address shortcomings in

C. Structure, materials, technology

1. Structural systems; in restoration projects, structural interventions

Renderings and finishes

4. Building services, site utilities

The labour force is local.

V. Construction schedule and costs

A. History of project design and implementation, with dates

B. Total costs and main sources of financing

Total: 92,000,000 USD

C. Comparative costs (if relevant)

D. Qualitative analysis of costs (per square metre, per unit, etc.)

280 USD per metre.

E. Maintenance costs (heating, cooling, etc.)

Hard to quantify cost of maintenance with a project as diverse as this one.

Again – impossible to quantify given the project range.

A. Functional assessment (use)

E. Choice of materials, level of technology

G. Ageing and maintenance problems

None were observed during the site visit.

J. Durability and long-term viability of the project

Statistics of Permits in BACA:

In 2016 247 75 30.63 % 25.1 %

In 2017 345 98 28.4 % 15.65 %

In 2018 359 47 13.1 % 8.07 %

K. Ease and appropriateness of furnishings; interior design and furnishing

B. Response to the project by clients, users, community, etc.

2. What is the popular reaction to the project?

VIII. Persons involved

Muharraq Urban Rehabilitation Project

Sheikh Ebrahim Al Khalifa Centre for Culture and Research

Pearling Path, Testimony of an Island Economy

Muharraq Mobility Study: Systematica

There are a huge number, including:

Traditional roofing materials of

Traditional buildings on commercial streets tend to have long

Restored house of a wealthy merchant.

Traditional Muharraq woodwork.

A newly restored house, soon to be used for community

Architect Various architects

Public spaces on pathway 2 Hayr

Shaikh Ebrahim Centre for Culture and Research

Nuzul Guest House, Kurar House for Traditional Embroidery:

Memory of the House:

House for Architectural Heritage:

Pearling Path, Testimony of an Island Economy

Noura Al Sayeh, project director

Pearling Path Visitor Centre:

Pearling Path Squares:

Bu Maher Fort Visitor Centre:

Muharraq Conservation Plan:

Muharraq Mobility Study:

Sheikha Mai Bint Mohammed Al Khalifa