Shaahdin Manzil, 1917

Corporate sector in the recent years has witnessed remarkable developments due to the government’s successful market-oriented structural reforms and privatization policies. Today, nearly 700 foreign companies are doing business in the country and four fifth of the assets of the banking system are in control of the private sector. So, in this situation of boost up economy and restructuring of banking systems, Shaadin Manzil was bought up by the management of Bank Al-Falah Ltd.

Shaahdin Manzil 1914, a British period heritage building enjoys a long history of nearly a century, acquired a controversial position with the question of conversation right fro the start of the project. Till then, it was used as a commercial building accommodating shops and offices thought not properly maintained and conserved. It was commissioned to Al Imam Enterprises in 1999 and the principal architect of the firm Archt.

The initial scheme presented to the High level Design Committee of Lahore comprised of 8 stories superimposed over the existing facade with an appropriate set back. But regardless of its strict conformity to the bye-laws, it was not approved through the discretionary powers of the committee. So, the upper stories had to be removed from the final design with three and half stories above ground and two in the basement. There is no parking facility provided because of the height constraints as one of the proposals were to accommodate that on roof. On the contrary, massive machines and gas fire absorption chiller are placed on top. However, after making several presentations, finally the scheme was approved and the architect called it “a triumph of compromise”

Everything had been designed on a system of proportion called “Fibonacci series” which is the complementary view of the golden proportion. Formulated in the 12th century, it is a series of numbers where each term is the sum of the previous two.

With this important discovery, the Fibonacci series was carried along in the interiors in every design decision from the size of a stone to the proportion of the glass. The complete process of construction took one and half years where all the accessories in the interior are custom made except the door hinges and locks.

The interior of Shaahdin Manzil as transformed into Bank Al-Falah Ltd. is quite radical in accordance with the prevailing corporate style which is characterized by skepticism and highly illustrated materialism. The philosophy of the client was “transparency: nothing to hide” which is seen all around the interior halls. Everything seems to flow into each other yet it has the privacy and seclusion in small hurdle rooms with managers sit in glass enclosures with opaque glass plates hanging with cables on eye level.

In terms of materials, extensive use of teak wood, stainless steel, imported granite and curved glass are used. All the glass is imported from U.A.E. especially in the atrium ceiling laminated and toughened glass is used. The bridge connecting the capsule lift is also made of glass is used. This sense of lucidity is carried through to the lighting and ducting system. The ducts are all exposed and for this reason these are also well coordinated. The ducts carry reflectors for the hanging lighting system and when the light hits these reflectors it splits and spreads all around. Another controversial feature in this project is the addition of glass dome on the roof. The architect justifies its existence by saying that “the site itself is triangular facing north side and is opened up through a colonnade which is quite deep. So we need to light up the interior space from the top.” It is a high profile dome, so in summer when the trajectory of the sun is high, direct light does not intrude into the interior causing temperature increase and contrasting shadows of light and shade. Al Imam Enterprises termed it as their first attempt in finding appropriate  green solutions which can help in reducing the running cost of every type of building.With an overview of the whole scenario, we can say that this project is a clear evidence of changing patterns of development in the built environment of the city. Architectural space is in flux with the changing social and cultural values, nevertheless it is not a new paradigm in architecture but an epitome governed by overwhelming technological advancements and client requirements.