15. Snowhite Building 1980s

Architect Unknown

Bus Routes 007, 044, 040, 052, 032, 056

This low-rise, mixed-use, modernist building stands out from its plain, glass-covered neighbors. It is difficult to find information about the place: there does not seem to be a manager, and the owner is absent. According to one resident, who moved in in 1987, the building was built at some time in the 1980s. I call it the "Snowhite Building," after one of the shops on the ground level.

What sets the Snowhite Building apart is its aesthetic design that articulates two completely different sides: a symmetrical three-block structure on the front, and a box-like shape around a masonry wall on the side. The front boasts a brick and concrete construction, embellished by four symmetrical redbrick vertical lines that underline the windows. A cast-in-place faux marble base supports the wrap-around concrete body of the building, which ends up on a flat roof. The front is made of two monolithic concrete blocks symmetrically reflected around a smaller central block.

Walking around to the side, one is bound to notice the vertical strip of windows spreading in the middle. It seems out of place. This vertical row not only divides the building into two wings, but also makes sure that there is enough light falling to the staircase in its center. The building is adorned with geometric forms that do not appear to serve any purpose. It exemplifies the idea that there "should be no frontiers between the applied arts and the sculpture or painting - everything should be one thing: architecture." [1]

The unknown architect of the building played with relief and colors, and brought together several means of artistic expression. With its geometric abstraction, the building alludes to three great modernist artists: Rothko, Malevich, and Mondrian. Architecture should be "a synthesis of Neo-Plasticism," [2] and this reflects on the Snowhite Building. Whilst the white concrete walls serve as a connection to Abu Dhabi’s built environment, the game of colors and symmetric dynamism refers to the rest of the world, and acknowledges the global nature of the city.

Setting its façade treatment aside, the building is characterized by the irregular sizes of the residential areas. The building is composed of two large concrete blocks, and a smaller one in the middle, which gave the architect more freedom in shaping the living spaces. Two groups of apartments with different sizes ensure various rent rates for residents of different social statuses. Both groups of apartments feature balconies and windows, therefore allowing for similar experiences and living possibilities for all income levels. The building strived to cater for various social classes, and this social value clearly adds to its worth.

Notes

1. Bruno Taut, "A Programme for Architecture," Programs and Manifestoes on 20th Century Architecture, Cambridge, MA: MIT Press, 1971, p. 41.

2. Theo Van Doesburg, "Towards a Plastic Architecture," Programs and Manifestoes on 20th Century Architecture, Cambridge, MA: MIT Press, 1971, p. 80.