Wednesday, May 23, 2007

History of Melbourne's Tallest Buildings

Melbourne's skyscraper record is impressive, by any standards. The city has a history of tall buildings, just as do other cities such as Chicago and New York. Despite a general 40 metre height limit enforced between 1916 and 1957, which precluded anything but decorative towers, the city has had a history of impressive skyscrapers, which included many of the world's first skyscrapers in the 1890s.

Melbourne has for many years laid claim to Australia's tallest building.

The city once had the world's 3rd tallest skyscraper in the Australian Building 1889 (sadly demolished in the 1980s). The building was Australia's and the southern hemisphere's very first true skyscraper (12 storeys or taller).

Today, Melbourne is home to 5 out of the 10 tallest buildings in Australia, and Australia's tallest since 1980 in the Rialto (as well as the title of tallest in the southern hemisphere). The skyline is one of the world's most admired. The Eureka Tower (under construction) will retain that title for many years to come, and gain a new title as the world's tallest residential tower. A recently failed proposal for the Grollo tower, shows that Melbourne is a city that well and truly aspires to great heights, and a current building boom has seen a seemingly endless supply of giant buildings being constructed.

No city should demolish a previously tallest building, however old and ugly as they may seem at the moment. They are bound to be a landmark of their era and are more often than not a representation of the finest in architectural and engineering achievements of their time. These factors should be taken into strong consideration when registering buildings for heritage value. This is especially the case given that 4 out of 12 of these Melbourne skyscrapers no longer exist.

Most of the buildings that are no longer with us were pre reinforced concrete and steel construction, mostly load bearing stone foundations, which could not always stand the test of time. Regardless of whether this was an issue in the 1960s or not, tall buildings seem to always admired when first built and admired less as they grow older, until they dissapear into obscurity as they are dwarfed by their neighbours.

One such example is the AMP building, which, depsite it's formidibale size, was recently touted for demolition to be replaced by a newer development - the taller Church Place tower. The AMP building is a fine example of 1960s high-rise construction, and shows heavy influence from the CBS building in New York. The lower St James buildings that frame the tower could be demolished to make way for several towers, however the main tower and plaza should be preserved, as along with it's neighbour BHP house as one of the best examples of 60s corporate self-referential architecture in Melbourne - if not Australia. It would be a tragedy if this once tallest landmark were demolished, and it would further blemish the city's poor performance in preserving it's talls for future generations.

A precedent should be set by registering ALL of these fantastic towers now while we can, before they too fall under the wrecking ball of speculative development.

A chronology
A list of the tallest city buildings at different stages in Melbourne's history

1880
Yorkshire
Brewery
8 storeys
Status: heritage registered but in extremely derelict condition

1888
Fink's Building
43 metres & 10 storeys
Status: demolished (c1960)

1889
The Australian Building
53 metres & 12 storeys
Status: demolished (c1980)

1929
APA Tower
76 metres & 14 storeys
Status: demolished (c1969)

1958
ICI House
81 metres & 20 storeys
Status: heritage registered

1963
CRA Building
96 metres & 26 storeys
Status: demolished (c1992)

1969
AMP Square
113 metres & 28 storeys
Status: under threat

1972
BHP House
152 metres & 31 storeys
Status: heritage registered

1975
Optus House
153 metres & 34 storeys

1977
Nauru House
182 metres & 52 storeys

1981
Collins Place
185 metres & 50 storeys

1985
Rialto Towers
251 metres & 63 storeys

2004
Eureka Tower
297 metres & 92 storeys
status : Under Construction

Sunday, May 13, 2007

Centre Pompidou - Richard Rogers

The concept drivers for INMOS were, as for the Pompidou Centre, large, column-free flexible and universally serviced open operational spaces. The heart of the scheme was astrong, central circulation spine and central meeting space for all employees.



STEEL DETAIL



PIPE DETAIL



TOP OF PIPES DETAIL

At the heart of our urban strategy lies the concept that cities are for the meeting of friends and strangers in civilised public spaces surrounded by beautiful buildings.


Monday, May 7, 2007

Centre Pompidou - Richard Rogers



FLOOR PLAN




ELEVATION

SECTION




COLOURED SECTION

Saturday, May 5, 2007

ARTICLE
Construction of world's tallest tower to begin 18:24 10 December 2004
NewScientist.com Article
Will Knight

Burj Dubai will be nearly half a mile high, at 800 metres tall (Image: SOM)
Related Articles World Trade Center replacements unveiled19 December 2002
Twin beams light up New York 12 March 2002 Design choice for towers saved lives 12 September 2001

The construction of what will be the world's tallest building is set to begin in Dubai, United Arab Emirates. The building contract was awarded to a consortium led by the South Korean Samsung Corporation on Thursday.

The Burj Dubai tower will stand 800 metres tall - just 5 metres shy of half a mile - once completed in 2008. That will be nearly 300 metres taller than the tallest floored building in the world today, the Taipei Tower in Taiwan.

The new tower's unique, three-sided design will ascend in a series of stages, around a supportive central core and boast a total of 160 floors, accessible via a series of double-decker elevators. Its shape will be integral to its impressive size. The design is intended to reduce the impact of wind and to reduce the need for a stronger core - allowing for more space - as it ascends.

"It's almost like a series of buildings stuck together," says Mohsen Zikri, a director at UK engineering consultants Arup. "As you go up you need less and less lifts and less core."

A key challenge will be the logistics involved in construction, Zikri told New Scientist. "You need things to be delivered with military precision or you will have chaos on the ground."

A spokeswoman for Skidmore, Owings & Merrill, the Chicago-based architects firm behind the design in the US, says the shape should prevent wind vortices building up around the tower and causing it to move in the wind. "Wind is the primary thing at this height," she told New Scientist. "The engineers have focused on shaping the building to minimise this effect."

As wind whirls around a tall building it can build into powerful vortices that in turn generate powerful winds on the ground. But the wide base of the Burj Dubai should also prevent wind from causing these disturbances.

Besides beating the Taipei Tower, which stands at 508 metres tall, Burj Dubai will also be considerably taller than the CN tower in Toronto, Canada, which stands at 553 metres tall though is without a multiple floor structure.

Foundation work was recently completed by Turner Construction International, based in New York, US. Above ground construction will now begin under the control of the Samsung Corporation. The contract was awarded by Emaar Properties in Dubai, after an 11-month bidding process.

The tower will be used for offices, residential apartments, hotels and shops and will be surrounded at its base by a man-made lake.


Current height

In February 2007, the Burj Dubai surpassed the Sears Tower as the building with the most floors in the world. As of 20 May 2007 the tower's height was 460.1 meters (1,510 feet), with 129 floors.

It is currently the second tallest building in the world, as measured to the structural top of building (not including antennas). Rising at its current rate of 2-3 floors a week, by September 2007, the Burj Dubai will likely surpass Taipei 101 (509 meters, 1,671 ft) to become the tallest building in the world in all four CTBUH criteria, and the CN Tower (553 meters, 1,815 feet) to become the tallest freestanding land-based structure. However, the CTBUH, and therefore most authorities, will not recognize its world-record height until it is occupied.

Projected height

The projected final height of the Burj Dubai is officially being kept a secret due to competition; however, figures released by a contractor on the project have suggested a height of around 808 metres (2,651 feet). Based on this height, the total number of habitable floors is expected to be around 162. However, on the project's official website, an interior graphic of an elevator panel shows floor numbers up to 195. A more recent article by building subcontractor Persian Gulf Extrusions states a final height "over 940 metres", or at least 3,084 feet, but this has not yet been confirmed by Emaar. This new figure is 24 metres higher than the final height rumoured on burjdubaiskyscraper.com. Another source, from dubaimegaprojects.com reported an estimated final height of 1,011+ metres (3,317 ft.) and a floor count of 216+ floors.

In a recent interview the project manager for Burj Dubai, Greg Sang, was asked directly about the rumour of a final height of 808 m. He responded that he did not know the origin of that figure, and confirmed only that the height would be greater than 700 m. When pressed for a more precise figure, he merely repeated that he was able only to guarantee that the final height would be higher than 700 m, and it would be the world's tallest free-standing structure when completed. In fact, at more than 700 m the Burj Dubai would be the tallest land-based structure of any kind to have ever been built throughout human history.

Architecture and design

The design of Burj Dubai is ostensibly derived from the patterning systems embodied in Islamic architecture, with the triple-lobed footprint of the building based on an abstracted desert flower native to the region. The tower is composed of three elements arranged around a central core. As the tower rises from the flat desert base, setbacks occur at each element in an upward spiraling pattern, decreasing the cross section of the tower as it reaches toward the sky. At the top, the central core emerges and is sculpted to form a finishing spire. A Y-shaped floor plan maximizes views of the Persian Gulf. Viewed from above or from the base, the form also evokes to the onion domes of Islamic architecture.

The exterior cladding of the Burj Dubai will consist of reflective glazing with aluminum and textured stainless steel spandrel panels with vertical tubular fins of stainless steel. The cladding system is designed to withstand Dubai's extreme summer temperatures.

Thursday, May 3, 2007

Centre Pompidou - Richard Rogers



In 1971 Richard Rogers and Renzo Piano, in collaboration with Ove Arup & Partners, won the international competition, for which there were 681 entries, for an ‘information, entertainment and cultural centre’. The building was designed and built in six years, the main steel structure being erected in six months. Today, the vast building, located in the centre of historic Paris, houses a museum of modern art, reference library, industrial design centre, temporary exhibition space, children’s library and art centre, audio-visual research centre (IRCAM) and restaurants.

At the time of the competition, there were no sizeable open spaces in this central area of the city, so the importance of creating public space was key to this project: half of the Beaubourg site was dedicated to a vast piazza which has since become the most intensively used public space in Paris. Thus, the competition response created a centre not only for the specialist but also for the tourist and the local resident: a dynamic meeting place where activities could overlap in flexible, well-serviced spaces, a university of the street reflecting the constantly changing needs of users. The greater public involvement, the greater the success of the building. The large, paved, sloping piazza is host to street theatre and music, games, meetings, parades and temporary exhibitions. This has had a significant regenerative effect on the surrounding neighborhood. To the east, the Centre abuts the street, reinforcing the existing urban pattern. Pompidou proves that modernity and tradition can profitably interact and enhance historic cities. ‘Cities of the future will no longer be zoned as today in isolated one-activity ghettos, but will resemble the more richly layered cities of the past. Living, work, shopping, learning and leisure will overlap and be housed in continuous, varied and changing structures’ (Richard Rogers).

Beaubourg was a key connection in the renewal of the historic heart of the capital and made an impact on ParisA colossal 100,000m², this public building is designed to be a flexible container and dynamic communications machine and is constructed from pre-fabricated parts. Host to 6 levels of vast column-free interiors, the building achieves uninterrupted floor space by limiting all vertical structures and servicing to the exterior; even escalators and lifts are clipped to the façade. The glazed escalators which snake up the full height of the building not only celebrate the drama of movement but provide panoramic views of the piazza, its environs and all of Paris. The internal spaces are designed to be highly adaptable so that their character and use can change freely within the life of the centre; there is no obvious hierarchy which separates art and learning from more everyday activities. With its external colour-coded servicing and structure, the building reveals its internal mechanism to all those who look up at it. It is a flexible, functional, transparent, inside-out looking building. The Centre Pompidou has an average attendance of approximately seven million people per year.. which reverberates to this day.

The design expresses the belief that buildings should be able to change to allow people the freedom to adjust their environment as they need . In addition, the order, grain and scale should be derived from the process of making the building so that each individual element is expressed within the whole. As a result, the building becomes a true expression of its purpose. The key elements of the competition scheme remained intact as the building progressed into the developed design stage, although the interactive information facade, which was conceived as an information wall for use by the Pompidou as well as other external institutions, and the open ground floor were dropped. The building was to have had no main entrance in the traditional manner, rather a permeable ground floor where entrance to all parts of the building could be made. However the fundamental arrangement of the building and its relationship with the city remained as the architects intended.


The entrance to the building is at the level of the street and the piazza and relates to the life of both. Alternative access is via the lifts, escalators and staircases attached to the west facade. Each of the five major floors are uninterrupted by structure, services or circulation . These huge, open, loft-like spaces are serviced both from above, and from the raised floor for maximum flexibility in layout. The corridors, ducts, fire stairs, escalators, lifts, columns and bracing which would ordinarily interrupt the floors are exposed on the exterior.

Movement was to be celebrated throughout the building, and expressed overtly in the great diagonal stair running up the outside of the building, which affords spectacular views over Paris. The transparency of the facade, the galleries and especially the escalators snaking their way up the side of the building combine to reveal two captivating sights – the tiled roofs and medieval grain of Paris in one direction, and the revelation of the building – a flexible, functional, transparent, inside-out mechanism in the other.

Saturday, April 28, 2007

Richard Rogers Theories


Flexibility

Today's buildings are more like evolving landscapes than classical temples in which nothing can be added and nothing can be removed. Open ended, adaptable frameworks with large, well-serviced and well-lit floors, on the other hand, offer the possibility for a long life span for the building and a variety of possible uses. For example, Mossbourne Community Academy and Minami School will be able to adapt over time to progressive approaches to education. This concept was developed in earlier buildings such as Lloyd's of London and the Pompidou Centre, solutions that include spaces that can be used for multiple activities in the short term, as well as having many alternative long term uses depending on future requirements.

At Barajas Airport in Madrid the objective was to ensure that the architecture was robust enough to handle the amount of passengers estimated for forthcoming years. The one constant factor with airports is change, and so the essence of this scheme in constructional terms was its use of a single modular segment for the entire 1.2km long structure, allowing ease of expansion whilst disciplined in response to environmental constants such as day-lighting. Repetition of elements as an aid to the construction process can be seen at Chiswick Park, facilitated by design consistency across the individual buildings.

Office occupiers require flexible spaces in order to respond to contingencies in business life; they need to be able to extend and adapt buildings. A concept that incorporates a high level of standardised design will facilitate change.

For functional reasons we always create clear zoning between servant and served spaces within a building. We often separate and juxtapose the services with the mass of the building; in practical terms the part of the building which is inhabited has a long life, whereas the technical services have a short life and therefore need to be accessible for change and maintenance. By separating the mechanical services, lifts, electrics, fluids and air-conditioning from the rest of the building, inevitable technical developments can be incorporated where they are most needed to extend the life of usable core space. The articulation of the services and core building creates a clear three-dimensional language, a dialogue between served and servant spaces and a means of creating flexible floor space. Standardised large floor-plates with services placed on the perimeter have been successful in commercial buildings such as 88 Wood Street and Lloyd's Register, and allow for flexible tenancies that respond to the changing demands of the office market.


Public domain

Public space between buildings influences both the built form and the civic quality of the city, be they streets, squares or parks. A balance between the public and private domain is central to the practice's design approach. Buildings and their surrounding spaces should interrelate and define one another, with external spaces functioning as rooms without roofs.

It is the celebration of public space, and the encouragement of public activities that drives the form of the practice's buildings. It is the building's scale and relationship with the street or square that helps to encourage public activity and create a people-friendly environment. For example, the steps that lead to the Channel 4 Headquarters, the narrow passage that runs around the Lloyd's of London building, the small churchyard in front of Lloyd's Register, the close around the National Assembly for Wales or the square in front of the Bordeaux Law Courts are all examples where the relationship between buildings and public spaces demonstrate how the architect's responsibility can successfully extend beyond the brief to include the public domain.

The Pompidou Centre in Paris, designed by Richard Rogers in collaboration with Renzo Piano and completed in 1977, illustrates how a building can bring life to a rundown area of a city. The design deliberately dedicated over half of the site to a public piazza. The public domain, in this case, extends from the square up the facade of the building in the form of 'a street in the air' , a great diagonal escalator crossing the facade to connect all the floors. The Pompidou Centre, including its piazza has become the most visited building in Europe with spontaneous street theatre and other events in the piazzas complimenting the activities within the building.


City and contex

Cities are the physical framework of our society, the generator of civil values, the engine of our economy and the heart of our culture. In England, one of the three most densely populated countries in the world, 90% of the population live in cities, but many of our urban centres are not sustainable. Large areas of dereliction, poverty and empty quarters, destroy the sense of community and vitality, urban sprawl erodes our countryside.

Today, with the increase in life expectancy, the decrease in birth rate, increase in divorce rate and the potential for less pollution in our post-industrial society, the city has once more become man's natural habitat. Compact polycentric cities are the only sustainable form of development and should be designed to attract people. If we don't get urban regeneration right then all our work on cities - buildings and public spaces, education, health, employment, social inclusion and economic growth - will be undermined.

Sustainable urban development is dependent on three factors; the quality of architecture, social well-being and environmental responsibility. The compact sustainable city is multi-cultural with a hierarchy of density, has a mix of uses and tenures, is well connected with a coherent public transport, walking and cycling infrastructure, is well designed both in terms of public spaces and building, and is environmentally responsive.

The Richard Rogers Partnership has an extensive track record in sustainable urban regeneration - examples include masterplans for the East River Waterfront in Manhattan, a large mixed use development in Seoul, Korea, Convoys Wharf on the banks of the River Thames, the urban context for the new stadium at Wembley in West London, the regeneration of former docklands at Almada, Lisbon, ongoing schemes in Granada, Mallorca and Rome, as well as competition designs for Potsdamer Platz in Berlin, Piana di Castello near Florence and the Pudong Peninsula in Shanghai.

Thursday, April 26, 2007

Article: Boom town
Monday February 13, 2006
The Guardian

The fastest-growing city on earth, Dubai is spending mind-boggling sums on construction and is about to swallow up P&O in its bid to be a global maritime power. Given the scale of its ambition, could it become the most important place on the planet? Adam Nicolson reports from 'Mushroom City'

It looks like a hot Grozny. On the vast invented islands offshore and in the even vaster building sites that stretch in a wide band the whole length of Dubai's now famous riviera, acre on acre of grey-faced, concrete, hollow-eyed buildings, fenced in with scaffolding and overhung by tower cranes, stare at each other across the sands. Tower blocks look abandoned rather than half-made. It is said that a fifth of the world's cranes are now at work here. An army of some 250,000 men, largely from India and Pakistan, are labouring to create the new glimmer fantasy, earning on average £150 a month, and living in camps, four to a room, 12ft by 12ft, hidden away in the industrial quarters of al Quoz. One night in one of the luxury hotels would cost six months' wages of one of the men who built it. Below and around their work sites, the new streets are chaotic with rubble and piles of steel.

The traffic is already as bad as Los Angeles. The city authorities are now giving priority to new roads, hundreds of millions of dollars are being spent on bridges across the Dubai Creek, five lanes in each direction, but still a taxi ride that might take 10 minutes at midday lasts an hour at either end of it. If you ask a driver to take you to some places, he laughs. "Do you want to have a very long talk?" he says.

Dubai is growing faster than any city on earth. "Mushroom City", Ravi Piyush, a plumply content dealer in the Gold Souk, said to me. "Nothing today, everything tomorrow." The World Bank reckons that the reconstruction of Iraq is going to cost $53bn. Here, along the strip of footballer-friendly sand that stretches 25 miles or so along the shores of the Persian Gulf, there is, at a rough estimate, about $100bn worth of projects either underway or planned for the near future. That is a numbing figure, ungraspable. It is the equivalent of every single dollar invested in the United States from abroad last year; almost twice the foreign investment in China.

There are the three famous offshore "palms", man-made peninsulas laden with more hotels and more "signature villas" than the entire Premiership might ever dream of. The 7,000-man workforce on one of them is too large to get on to the palm each morning without creating its own traffic jam: they are shipped in by sea from further along the coast. There's to be a Giorgio Armani Hotel and a Palazzo Versace. There's the tallest building in the world under construction, Burj Dubai, costing $800m and expected to be 800m tall when complete, but the precise figure is being kept secret in case New York's new Freedom Tower tries to top it. A billboard the size of Piccadilly Circus stands out in the desert showing the pencil-thin rocket of a tower alongside a simple rubric: "History Rising." The biggest shopping mall in the world is already here. Another, bigger, the world's largest retail development, is under construction.

There's to be an underwater hotel ($500m). One indoor ski resort, with real snow and its own black run, exists already, a weird, looming presence on the city's southern skyline. There is to be a second, with a revolving mountain. Plans are mooted for a Chess City, with 32 tower blocks of 64 floors, each in the form of a chess piece. There's to be a 60-floor apartment block in the shape of Big Ben. One company selling flats is giving away a free Jag with each one. There will be a pyramid and a building called Atlantis that will cost $600m and include a "swim-with-the-dolphins encounter programme". An Aviation City and a Cargo Village, an Aid City and a Humanitarian Free Zone, an Exhibition City and a Festival City, a Healthcare City and a Flower City, a $4bn extension to the airport and another entirely new airport along the coast towards Abu Dhabi, for which no figures are available but you can take a guess at a few billion: six runways, annual capacity 120 million passengers, 12 million tonnes of cargo.

Next to it, as the Dubai government's Department of Tourism and Commerce Marketing puts it, "There will be several smaller cities that will cater to the financial, industrial, service and tourism industries." To fill these airports, Emirates, the national airline, has just placed the biggest order that Boeing has ever had: $9.7bn for 42 777s, each capable of carrying 300 passengers non-stop more than 9,000 miles across the world. They have also ordered a fleet of the biggest Airbuses on offer, each capable of carrying 555 people.

The Middle East's answer to Disneyland, called Dubailand, which is far larger than Monaco, is costing $4.5bn. It will employ 300,000 people in the various joylands, servicing 15 million visitors. A new urban railway, with 37 stops, begins construction soon. Dubai is to have its own Silicon Oasis ($1.7bn) for computer companies. A mixed development called Dubai Waterfront/Arabian Canal covers an area larger than Barbados and will house, when completed ($6bn), more people than Paris.

There's another side to Dubai. Drive south along the Gulf, away from the glamour zone of the great hotels, past the giant malls and the huge gas-fired power stations, almost to the western border of Dubai, and you come to the largest man-made harbour in the world. The unapproachably vast quays of the modern port at Jebel Ali were dredged out of the desert sands in 1979 at a place where the present emir's father, Sheikh Rashid, used to come for evenings camping with his friends. Abdulla bin Damithan, one of the port managers, showed me around in his red Audi. (This was a replacement; the BMW was in for service.) The 1.5 mile-long quays are so enormous that to look the length of them is to stare into a desert haze. Halfway along, the metal bodies of the ships and cranes disappear like mirages.

But it is no dreamy place: every minute, every towering gantry crane lifts another container off the high-stacked decks of the bulbous ships alongside, lowers it to a waiting truck that delivers it to another part of the site, or transfers it from the unimaginably huge motherships, which travel the world oceans, to the slightly less huge feeder ships that service the Gulf, the Indian trade and the Mediterranean. Nothing interrupts the movements, day and night, 365 days a year, even in July at 90% humidity, an air temperature usually over 49C and when even the seawater in the docks approaches 38C. No one works outside. More than seven million containers are moved here in the course of the year, a figure that grew 23% last year, and is set to triple within the next six years, serving a market of two billion people. It's like looking at the guts of the world, the usually hidden machinery by which things actually happen. Over on the other side of the harbour, two diminutive destroyers are tied up, the stars and stripes hanging off their sterns. This is where the American carrier battle groups patrolling the Gulf come for service - and shopping. It's the port most visited by the US navy outside the United States.

Like almost everything of any significance in Dubai, the port system belongs to the state, or to the Maktoums, the ruling family. The two are indistinguishable, and in some ways, Dubai is like Poundbury writ large - and rich: a princely vision of how the world might be. The Maktoums came here as Bedouin chieftains in the 1820s, to a small, palm-fringed trading creek, where political control was in the hands of the British. Only in 1971 did DubaiUnited Arab Emirates. It was already known that Abu Dhabi, by far the biggest and richest of the Emirates, was sitting on a vast mineral reserve. At current rates of production, Abu Dhabi has more than 120 years' supply of oil and gas still untapped. Dubai is nothing like so well endowed, and so from the 1960s onwards, the Maktoums have been consciously shaping Dubai as the trading and financial motor of the Emirates, and the Dubai ports system is central to their vision.

Dubai sits on the all-important strategic routeway of the modern world: China, India, Middle East, Europe and the US. That is where the money is going to be. China has just become the third biggest economy in the world and it is the fastest growing. India is set for its own acceleration. The Maktoum plan is to make Dubai the centre of a global strategic network of port facilities to rival Singapore and the huge Hong Kong-based conglomerate of Hutchison-Whampoa. They have been acquiring hard and fast and now control massive facilities in China, Hong Kong, Australia, South Korea, India, Yemen, Djibouti, Saudi Arabia, Romania, Germany and Latin America. In a profoundly symbolic move, Dubai Ports are now manoeuvring to make a bid for the great harbours in southern Iraq.

They want more, and that desire for global control is what lies behind their bidding war for P&O, the British ports and shipping combine, which has a powerful European presence (including the giant London Gateway, planned to be Britain's biggest container port at Thurrock on the Thames), exactly what Dubai wants. Singapore wanted it too and the two commercial city states' rival bids drove up the price, adding 80% to the value of P&O's shares and valuing the company at a reported $6.8bn (just short of £4bn), an unprecedented 40 times P&O's profits last year. At the weekend, Singapore pulled out and all the signs are that when P&O's shareholders vote today, they will accept Dubai's offer. This bid alone is a measure of the hunger, the money and the drive of what is happening in the emirate. And the Arab world has backed the bid. When Dubai Ports issued a bond for $2.8bn last month to help it buy P&O, it found itself drowning in $11.4bn of subscriptions.