HENNING Larsen's Islamic architectural visions combine the past with the present. His work in Riyadh with the Ministry of Foreign Affairs displays his genius and passion for Islamic architecture. Born in Denmark in 1925, he received his training at the Royal Academy of Fine Arts in Copenhagen Architecture and Planning between 1950 and 1952; the AA School of Architecture in London, (1951 – 1952), and MIT School of Architecture, Boston Massachusetts, in 1952. Larsen has a real understanding of location and the part that light plays inside and outside of his work. This is of significant importance in the Middle East. He focuses on providing new visual images which are in tune with time. His creations are therefore, by no means static. Rather, they reflect the changing times: economic, social and political. His Riyadh project employed classic architectural ideals with specific reference to traditional Islamic buildings. It is a contemporary architectural statement of great style and grace, which speaks of a proud and remarkable Islamic culture through the ages. In designing for the Minister of Foreign Affairs, Larsen said that he wanted to “create harmonious proportions with light and color; and to provide a place that would be pleasant to be in…. a place that could be a tribute to the architectural traditions of the Islamic world, and that would function as an important addition to the diverse style of architecture that are found in Riyadh.” In a critical essay on architectural aspects of the Ministry of Foreign Affairs, Chris Abel made the following comments, which was first published in Architectural Review in July, 1985, regarding the Entrance and the Lobby: “Larsen's apparent understanding of the inward Islamic orientation is general,, but of Najd in particular…” Describing the entrance Abel added, “Passing through giant bronze doors, beautifully ornamented, but also looking strong enough to hold back an army – we enter the main entrance vestibule. And immediately we find ourselves in another world. Two small and identical two-storey high courts flank either side of the vestibule. They are illuminated from above in a gently controlled light from a circular opening in the roof, and from two large screened openings in the outside wall, the lower one at ground level casting a grill of light and shadow across a white wall and blue marble floor…” “A raised circular pool and fountain in the centre enhances the space itself. The central triangular lobby has its own central pool and fountain – but does not detract from the general serenity and austerity. The four-storey high walls of the central court have a limited number of openings. The portals in the centre of each wall are on a grand scale, but both the cloister running round the lobby and the rows of windows at each upper floor are diminutive”, comments Abel. The entire structure is as if the whole building had been carved straight from the solid by “some giant mason”. The solid mass gives way to an undefined softness in spite of its size and volume. Larsen's work is an extraordinary achievement, and stands one of the most significant and impressive buildings in Riyadh and in the Middle East. __
