Architecture book Bio Buildings,Interiors, Urban,exhibition by Four Films Printing Group

TABLE OF CONTENTS

BIO 05 BUILDINGS 85 INTERIORS 169 URBAN 209 EXHIBITIONS 02

FOREWORD Each project and its client are distinct in the problems they pose and the programs they require. A rigorous understanding of the cultural surroundings, the programmatic pragmatics, and the clientâ&#x20AC;&#x2122;s agenda form the framework within which the project, or the strategy towards it, is generated. The numerous projects surveyed inside share the unique resolution of the programs; a sensibility towards technique, structure, form, and tactility â&#x20AC;&#x201C; with prejudice towards none. The process towards an emerging architecture is revealed in the outcome, without any predilection at the outset. The interface with the client, the political makeup, the economical infrastructure, and the social superstructure are enrolled in the process to generate a unique form redefining the ARCHITECTURAL not as it should be but as it can be. The projects inside this portfolio are a survey drawing on past and present experiences and collaborations.

Naji Moujaes.

BIO

Established in Kuwait in 2009, PAD 10 is an interdisciplinary design studio that hosts creative minds with professional backgrounds in architecture, graphic design, journalism, and new media. PAD10 provides design solutions of cultural relevance and communicative value. Currently, the PAD 10 team handles projects in architecture, interior design, landscaping, and urban design.

Naji Moujaes, a principal architect and a founding partner, practiced architecture in New York City for the past decade, co-founding L.E.FT Architects in 2001. His practice has been recognized internationally by numerous awards, publications and exhibitions for quality and excellence in design. His architectural practice was coupled with research projects that were conducted in the form of design studios at several universities in the United States. Mr. Moujaes co-taught Vertical Studio and seminar at Cornell University, Third-Year Graduate Advanced Architectural Design Studio at PennDesign, and two Vertical Studios at Rensselaer (RPI) School of Architecture.Previously, Mr. Moujaes worked for Aedas-Davis Brody Bond in New York City as design architect for several high-profile award winning commissions and competitions — most notably the World Trade Center Memorial Museum in New York City, the Valeo Security Systems in São Paulo, Brazil (Winner of AIA New York State Design Award 2007), and The Human Rights of China Headquarters in New York (Winner of 2005 AIA New York Chapter Design Award). Mr. Moujaes received his Bachelor’s degree in Architecture from the American University of Beirut in 1996, winning the Areen Award for Excellence in Design; and his Master’s degree in Architecture from the Southern California Institute for Architecture (SCI-Arc) in 1999. Mr. Moujaes completed his architectural training at Massimiliano Fuksas’ office in Rome, Italy, and Riken Yamamoto and Field Shop in Yokohama, Japan. Mr. Moujaes is a recipient of the prestigious 2002 Young Architects Forum Award and the 2010 Emerging Voices by The Architectural League of New York, Shinkenchiku Japan Architect (JA) honorable mention and AIA First Honorable Mention in the Competition for a ‘Center for Czech Architecture, Prague’. He has exhibited at the Storefront for Art & Architecture, the Artists Space, RISD, Parsons, Hong Kong - Shenzhen Biennale of Architecture and Urbanism 2007. His work has been widely published. Projects and interviews have been featured in Volume Magazine, Architectural Record, Metropolis Magazine, Praxis, The Architect’s Newspaper, The New York Times, L’Architecture d’Aujourd’hui, Japan Architect, Bidoun Magazine and World Architecture. Mr. Moujaes served as jury member on The Architectural League of New York’s 2006 Young Architects’ Forum, themed Instability; and for the NYFA (New York Foundation for the Arts) 2006 Architecture/ Environmental Structures. He served as a critic on design juries at Columbia University, Pratt University, Parsons School of Design, Cornell University, Yale University, and PennDesign. He has lectured at the Architectural League of New York, at the CCA (Centre Canadien d’Architecture), the Monterey Symposium in Mexico, the Milan Triennale in Italy, and the Nordic House in Reykjavik, Iceland.

Johnny Salman, a principal architect, is a hands-on designer able to follow his ideas through to detailing and execution. He has worked on projects ranging from guardhouse to large-scale cities and from design to design-build. This variety in scale of projects makes him knowledgeable in a wide range of services in and around the profession. Following graduation in 1996, Johnny Salman co-founded the Lebanon based practice, Raed Abillama Architects. Over the ten years of his stay, he was a key figure in creating the design repertoire of the office. Johnny is Principle Architect of two Projects included in The Phaidon Atlas of Contemporary World Architecture(Best 1000 projects in the world 1997-2004). His projects have been also nominated twice for the Agha Khan Award for Architecture: 2004 cycle and 2007 cycle(current). They have also been published in various magazine reviews including wallpaper, architecture+, residences, DECO. Limelight projects at RAA in which Mr. Salman was key include AWB 654-Residential Building, ZEK 17- Private Villa, Le Comptoir-Wine Shop (Design-Build), Bemo Bank Kantari Branch (Boutique Bank Branch Prototype). When he left he was “Associate/ Partner” of the 15 architect firm. In 2006, Johnny joined the Dubai office of the Cox Group to act as “Senior Architect” in the United Arab Emirates. The COX Group Pty Ltd is a 400 architect firm based in Australia. It has branches in Sydney, Brisbane, Melbourne, Perth, Canberra, Dubai, Abu Dhabi, Beijing and Shanghai. By joining Cox, Johnny has attained exposure to large-scale project management and urban design that Dubai has to offer within the context of a large, professional and internationally ranked office. Johnny left COX to pursue the position of “Head of Architecture” for the largest retail group in Lebanon, ABC s.a.r.l. ABC is a member of the International Association of Department Stores which includes the French international group Galeries La Fayette and the British international group Debenhams. During the period spent with ABC, Johnny was exposed to the complexities of large-scale retail along three main aspects, retail, leasing(including technical/ facilities management) and marketing.

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

WEST SIDE VIEW

6 SOUTH SIDE VIEW

CULTURAL

JUMEIRAH CULTURAL CENTER DUBAI, UAE

PM AXO Central zoning Belt park Central water Island building

Banded zoning Park/building/water

Arced to fit in a circle Maximzing frontages

Sectionaly nested Water folds up/park folds down

Oriented north Building = canopy of park

G RAV I T

PUM P

Water is the material of the new Jumeirah Cultural Center. It gives it form, but is also formed by it. Following the tradition of the desert nomad, the Center is an oasis for the modern nomadic jet-setter of the 21st Century. Conceived as a crescent overlap of the circular pond with the circular park, the Center becomes a negotiation between architecture and landscape, sitting at the edge of both, literally and metaphorically. It is neither architecture nor landscape, yet, but both at the same time. The Crescent of the Cultural Center, that of the lake and that of the Central Park become a subtle yet powerful center of gravity for the whole Jumeirah village development.

POND

SITE WATER CIRCULATION

SITE PLAN

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

GRAND STAIR HALL VIEW

STUDY MODEL VIEWS 8

CULTURAL

1 1: Restaurant 2: Covered plaza lvl 5.75 3: Ice skating rink 4: Retail 5: Science museum lobby lvl -5.75

1 GF - COVERED PLAZA LEVEL -5.75 m

COVERED PLAZA VIEW

4 1

SECTION THROUGH MEDIATHEQUE / PUBLIC PLAZA

1: Service corridor 2: Parking 3: Commercial 4: Covered plaza 5: Mediatheque 6: Park

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

SOUTH VIEW ACROSS FROM LAKE

STUDY MODEL VIEWS 10

CULTURAL

1: Parking exit 2: Botanical garden entrance 3: Theater/ foyer/ park entrance 4: Foyer 5: Public plaza/ Science center entrance 6: Mediatheque entrance 7: Park 8: Parking/ service entrance 9: Jogging loop 10: Public elevator 11: Service/ private elevator 12: Elevator/ (public + freight)

2 10

12 7

3 5

CIRCULATION DIAGRAM

NORTH ELEVATION

SOUTH ELEVATION

1: Service corridor 2: Parking 3: Commercial 4: Museum lobby 5: Temporary exhibition 6: Permanent exhibition 7: Play time 8: Museum shop 9: Park

6 5 1

6 7

SECTION THROUGH SCIENCE CENTER 2

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

1: Media library 2: Theater 3: Science museum 4: Science garden

2 GF - PARK LEVEL 3

CULTURAL CENTER VIEW AT NIGHT

10 7 3 1: Service corridor 2: Parking 3: Commercial 4: Covered plaza 5: Theatre 6: Stage/ fly tower 7: Stage pit 8: Private lobby 9: Backstage services 10: Park

SECTION THROUGH THEATER

1 8

CULTURAL

1 1

3F - FOYER FLOOR LEVEL

4F - BALCONY FLOOR LEVEL

1: Media library 2: Theater 3: Science museum

1: Media library 2: Theater

VIEW OF FOYER OVERLOOKING THE LAKE

1: Service corridor 2: Parking 3: Commercial 4: Skating rink 5: Grand stair 6: Park

5 6

SECTION THROUGH GRAND STAIRS 2

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

CULTURAL

CZECH NATIONAL LIBRARY PRAGUE, THE CZECH REPUBLIC The design for the New National Library is conceived as the intersection of sectional relationships that are formed between different internal programmatic, topological and spatial components. It is also the outcome of external site conditions - from the adjacent park of the Letenska Plain, the view of the Prague Castle, and the Skyline of the City itself. Between these two conditions, the architecture of the library emerges as a series of five individuated yet interrelated wings to form a marker on the site, a footnote for a new relationship between architecture and culture in Prague, and a commentary on the historical layers of the city and their architectural manifestations. The Five Wings: The library floats between the landscape of the park and that of the roof, each wing lifting up to create relationships both internally with the different programs and externally with the setting. This also allows light to penetrate deep into the basement levels from around the building on all wedges. • The first wing, that of the administration, ramps up allowing the service and parking ramps to slip underneath. • The Entry wedge, with reading areas above, rises up to allow for the lobby entry, accessible from an entry ramp sloping down. This isolates the street from internal views of the lobby. • The café wing merges down to the park to allow public access to the roof, while the café itself is leveled with the park creating an outdoor extension seating. • The National Archive steps up drastically to become a seating area for viewing the castle from the roof of the building; and is the tallest and most prominent wing, making it the landmark element of the building. In addition, it also visually relates to both the Metronome (site of the previous Stalin monument) and to the Letenska Plain. • The last wing wedge lifts up, creating a built-in seating area inside the lobby for indoor performances and ends with the Parliament library, facing directly the Letenska Plain. These five wings create a multitude of relationships between the users of the building, whether they are readers, librarians or simply drifters wandering into the building from both the city and the park. To these users, the building is constantly changing faces, and their appropriations of the building become fictional narratives for their architectural experience.

10 1 8

11 4 7

1: Restaurant 2: Parliament library 3: Open stacks 4: Open stacks 5: Admin. 6: Universal stacks 7: Lobby 8: Reading areas 9: Open stacks 10: Amphitheater 11: Open stacks

CROSS SECTION

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

book drifter librarian reader

SOUTH SIDE VIEW

12 4 5

4 3 2 3 1 5 protagonists

South elevation

SOUTH ELEVATION

sectional couplings

1. drifter : reader

East elevation

2. reader : book

3. reader : librarian

North elevation

4. librarian : book

West elevation

5. book : drifter

CULTURAL

DRIFTERS’ PATHWAYS FROM THE LIBRARY ROOFSCAPE TO THE VLTAVA RIVERSCAPE

Roof

+ 17.5OM

+ 13.5OM

Drifters’ Network: 1. Escalator Down from Roof to Lobby 2. Elevator Up from Lobby to Roof 3. Multipurpose/ Amphitheater Access on Roof 4. Restaurant Access on Roof 5. Check-In/ Check-Out Ramp

+ 9.5OM

+ 5.5OM

Readers’ Loop: 5. Check-In/ Check-Out Ramp 6. Elevator for Reading Areas Only 7. Clearance Ramp for Orange/ Red Zones Reading Areas

Ground floor

INTERIOR PROMENADE

CIRCULATION DIAGRAMS

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

18 MAIN ENTRANCE VIEW

CULTURAL

1: Amphitheater 2: Multipurpose hall 3: National archive 4: Restaurant 5: National bibliography and cataloguing division 6: Reading room 7: Collection management and preservation division 8: National archive 9: Open stacks/ Study areas 10: Reading room 11: National archive 12: Parliament library

13: Mechanical room 14: Universal stacks 15: Acquisition division 16: Acquisition division storage 17: Universal stacks 18: Collections management and preservation division 19: Mechanical area 20: Universal stacks 21: Drop-off area 22: Parking 23: Mechanical area 24: Universal stacks

1 2

PLAN LVL. +24 M

MEZZANINE PLAN LVL. +12.0 M

8 7

12 9

PLAN LVL. +13.5

PLAN LVL. +17.5

19 16

UP UP

PLAN LVL. -5.2 MŘ&#x152;...

PLAN LVL. -7.5 M

TYPICAL PLAN LVL. -10.6 M, -12.1 M

PLAN LVL. -16.0 M

FLOOR PLANS

NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM, NEW YORK CITY, USA

SLURRY WALL

20 REFLECTING ABSENCE POOLS

CULTURAL

NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM NEW YORK CITY, USA This newly formed and evolving museum is dedicated to recounting and interpreting the tragic 1993 and September 11, 2001 attacks on the World Trade Center. The 121,000 sq. ft. museum occupies the authentic site of the attacks, which is both historical and hallowed ground. The museum’s architecture incorporates in-situ artifacts of the original buildings including box beam column bases of both towers, along with the Slurry Wall that survived the attacks. Most poignantly, the museum will be the repository for the unidentified human remains from the tragedy. Positioned directly below the Memorial Plaza, the museum is bounded by the Freedom Tower to the north, PATH train tracks and new HUB Transit Station to the east, Port Authority chiller plant to the south, and a portion of the site’s perimeter “bath tub” slurry wall construction to the west. The volumes of the north and south fountain pools, located directly above the footprints of the original towers, penetrate the museum space from above. The museum’s architectural design reinforces the tower volumes as primary physical and referential elements. They serve to organize the museum spaces and their presence is subtly articulated through skillful lighting of the recycled aluminum that wraps the tower forms. Between the north and south tower volumes, visitors will descend seventy feet from the plaza to the lowest “bedrock” level along a carefully crafted internal landscape called the “ribbon”. Partly suspended and partly supported, the ribbon weaves the in-situ artifacts with collected ones. Along this journey, a variety of interpretive exhibits will explore different aspects of the attacks and their impact on both those who perished and those who survived.

erl

Memorial hall

intro exhibition

MEMORIAL HALL LEVEL

NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM, NEW YORK CITY, USA

MEMORIAL MUSEUM GREAT HALL

SECTION MODEL

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

AERIAL VIEW

REAR ENTRANCE VIEW

GOVERNMENTAL

THE CRIMINAL INVESTIGATION HEADQUARTERS AL-SURRA, KUWAIT The building is located to the north of the future Criminal Evidence Building, with a common parking structure in between. The grain of the building runs east-west akin to the two adjacent buildings to form a western edge to Road 401, with the Civil ID building and the future National Microfilm and Computing Center along the east. When approached from the 6th Ring Road, this assemblage composes an urban gateway to the Ministries Area. Sloping down northwards, the building envelope restores visual harmony between the tall government buildings to the south and Al-Zahra’s low residences to the north. This urban threshold is coupled with the challenge of marrying the pragmatism of the bureaucratic intricacies of the program with the monumentalism that is typical of a government institution. A 20 m wide office floor plate snakes its way through the colonnaded urban canopy along the south façade, cascading gradually into the ground down to the basement for direct access to the jail, wrapped around an outdoor sunken courtyard. The half-monument and half-office ‘minotaur’ building complex dynamically ramps and loops a generic office floor plate, gradating sectionally to mediate between the jail and the investigation pool, the prisoner and the investigator, the landscape and the monument, creating a lucid reading of negotiating binaries. The rising complex detaches itself from the flat desert landscape to shade a reflecting oasis-like pool sprinkled by pavilions for common use.

4F +19.5 3F +15.0 2F +10.5 1F +6.0 INVITEE P.

GF ±0.00

ATRIUM

1B -3.5

PARKING

2B -7.0

PARKING

VISITORS P.

AUDITORIUM

PLAZA

REST.

CROSS SECTION

4F +19.5 3F +15.0 2F +10.5 1F +6.0 GF ±0.00

VIP DROP OFF

1B -3.5

PARKING

2B -7.0

PARKING

VIP LOBBY

ATRIUM

REST.

INVITEE LOBBY

COURTYARD

POOL

LONGITUDINAL SECTION

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

SITE

EXPLOITATION

SPACING-LIGHT AND AIR

SPLICING-CIRCULATION NETWORK

CONTINUOUS OFFICE-FLOOR-PLATE MONUMENT

GOVERNMENTAL

NIGHT AERIAL VIEW

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

28 COURTYARD VIEW

GOVERNMENTAL

FRONT VIEW

Ventilation court

Ventilation court Ventilation court

REAR VIEW

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

LEGEND: A-1 General director office A-2 General directorâ&#x20AC;&#x2122;s assistant

Fourth floor plan

A-3 Legal affairs & follow-up division A-4 Investigation division Vip

A-5 Operations & security department A-6 Criminal electronic department A-7 Juvenile police department

Third floor plan

A-8 Arab & international criminal police department A-9 Special missions & licenses department A-10 Service support department Typical employee

A-11 Manners protection department A-12 Information department A-13 Forgery & forfeiture department

Second floor plan

A-14 Money crimes combat department A-15 Investigation department in 6 governorates A-16 General requirements Visitors

First floor plan

Ground floor plan

Arrested / invitee

Basement-1 floor plan

Basement-2 floor plan

EXPLODED AXONOMETRY - PROGRAM ZONING

GOVERNMENTAL

REAR VIEW

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

32 AERIAL VIEW

INDUSTRIAL

FOUR FILMS PRINTING FACTORY SABHAN, KUWAIT The site for the new printing press factory is a 40 m x 50 m corner plot, located in the Sabhan Industrial Area of Kuwait City. The factory’s envelope is a white concrete shell with blank street façades to the south and west, except for the punch-in SE corner office window and the recessed SW corner entry door which insulate the building interiors from the harsh heat gain and the direct sunlight. With the rear north and side east façades aligned with adjacent buildings, the challenge was to reclaim the fifth façade (the roof), typically cluttered with mechanical equipment, as a source of daylight. To achieve this, the rear and side façades are setback, simultaneously corresponding with the building built-up area regulations, to stack the mechanical and electrical equipment vertically along these façades. The roof, a saw-tooth profile with north-oriented light monitors, washes the offices on the top floor and the post-press on the ground floor with north daylight, an optimal day lighting condition. Tectonically, the design starts from an initial saw-tooth roof profile, creating a generic factory building box that transforms to mediate between internal programmatic needs and external situational conditions: pulled-up to grant an entry access, pushed-in to provide a mechanical yard, pressed-down to reconcile with the service access, and punched-in to give a peek at the management’s corner office. A series of triangulated planes faces, fan out from each other, and coincide to mitigate the external tectonic transformations with the internal orthogonal structural grid system. Vertical Factory Instead of a one-floor plant layout with a linear production flow, the site limitations force a stacking of floor plates, each of which has an in-out circulation loop tied to the material elevator core when it comes to the process of in-progress products. The stock room and press floor are located in the basement, the post-press floor on the ground floor, and the pre-press with management and design on the first floor. A production department is tucked in the basement mezzanine, sandwiched between the press and the post-press. A briefing corner stepped room and an open stair flight snake a shortcut connection between management and production, revealing the bottom-up management internal policy.

CROSS SECTION

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

INDUSTRIAL

WEST ELEVATION

SOUTH ELEVATION

SW ENTRANCE CORNER

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

36 MODEL PHOTO - NORTH LIGHT MONITORS

INDUSTRIAL

VALEOFILMS SECURITY SYSTEMS, Sﾃグ SABHAN, PAULO, BRAZIL FOUR PRINTING FACTORY, KUWAIT

INDUSTRIAL

VALEO SECURITY SYSTEMS SÃO PAULO, BRAZIL Valeo Security Systems is an international automotive parts manufacturer. Located outside of São Paulo, Brazil, the new facility accommodates 700 employees. Program areas include 110,000 sq. ft. of manufacturing space and 70,000 sq. ft. of laboratory/research, administrative and support spaces. The building is prominently sited at a location sloping 30 meters up from the Ayrton Senna highway that connects Rio de Janerio to São Paulo. In Brazil, where earthwork is very inexpensive, Valeo opted to buy land which had less value yet had good exposure and access to the highway system and reconfigure it, rather than purchasing expensive land which was flat. What resulted was a radical cut in the side of a steep hill, using the cut soil to fill areas which needed to be filled, yielding a large plateau on which to place the building, with provisions for future expansion. Cut into the slope of the terrain, the building is formed by four separate bars independently sheared to allow torrential rains to run off the ends. The framework of the bars supported by split double columns permits the independent forms of the roofs to follow the primary structural grid and creates opportunities for skylights along the shears. The use of glass furthers the sense of transparency, both inside and out. This new building reflects the company’s commitment to quality and innovation. The internal environment fosters collaboration and communication, promoting integration between different departments. The layout also allows flexibility between fabrication, laboratories and administration by eliminating physical impediments, allowing for easy changes in the industrial process and technology.

SITE PLAN

VALEO SECURITY SYSTEMS, Sﾃグ PAULO, BRAZIL

ELEVATIONS

INDUSTRIAL

CROSS SECTION

FOUR FILMS VALEO SECURITY PRINTING SYSTEMS, FACTORY, SAO SABHAN, PAULO, BRAZIL KUWAIT

INDUSTRIAL

CLERESTORY LIGHTING

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

44 NE REAR VIEW

HOSPITALITY

EDAFAH SERVICED APARTMENTS KHOBAR, KSA Edafah, Al-Khobar presents a unique urban opportunity to create an entirely new identity for a serviced apartment building with a hospitality experience dedicated to the growing international population of Al-Khobar, a city emerging as the new touristic centre of the Eastern province of Saudi Arabia. With its Corniche promenade along the Arabian Gulf and its tranquil beaches, Al-Khobar is becoming ever more leisure driven with a tourist population that is bound to increase. This growth will not only require accommodation amenities but also a lodging environment that gives tourists a unique experience and recall of the city and its culture. For the EDAFAH proposal the following objectives were highlighted from a design perspective: 1- Challenge the typical â&#x20AC;&#x2DC;chain-hotelâ&#x20AC;&#x2122; typology of anonymous qualities and generic feel. 2- Propose different degrees of public spaces that act as transition from the city into the heart of the building. 3- Provide an architectural identity for EDAFAH that is contemporary in expression, yet sensitive to its context; and uniquely adapted to the site and its high visibility from the highway, not unlike the bold modern precedents of both urban planning with Doxiades in Riyadh, and architectural expression with Nervi in Al-Khobar.

MODEL PHOTO

SOUTH ELEVATION

0 10m

WEST ELEVATION

5 10m

EDAFAH SERVICED APARTMENTS, KHOBAR, KSA

46 NW REAR VIEW

HOSPITALITY

STREET VIEW

Gymnasium Core 1 access (Furnished apts block)

Sun deck

Business center

Core 2 access (Townhouses block) Atrium ramp access

Multipurpose Hall/ restaurant Vip lounge

ROOF PUBLIC PROGRAM

KHOBAR FOUR FILMSEDAFAH PRINTING FACTORY, SABHAN, KUWAIT

48 SOUK ATRIUM VIEW

HOSPITALITY

ROOF POOL

NIGHT AERIAL VIEW

HOUSES

ZEK 17 PRIVATE RESIDENCE DBAYEH, METN, LEBANON The house consists of a roof, attic, reception floor, bedroom floor, parking/pool deck floor and a multipurpose hall floor. The program encompasses an Entrance, Main reception hall, Secondary reception hall, dining hall, Main kitchen, Breakfast Room, Reception Terrace, Master Bedroom, Master bedroom Office, Master bedroom Living, Master bedroom Porch, Guest Bedroom, Boy’s bedroom, Two girl’s bedrooms, Two kitchenettes, 10 bathrooms, Indoor Parking, Pool Annex, and a multi-purpose hall. The original house was essentially a single storey central hall house with the main hall oriented along the north south axis. It consisted of four rooms and a main central hall with the back half placed on bedrock and the front placed on a barrel vault used for storage. A later expansion of the house involved the addition of a front porch with five arches as its façade and an expansion of the east façade about one and a half meters eastward. Another floor was added on top of the old house. The east rooms of the top floor were wider than the west rooms. The addition of a top floor was somewhat whimsical and disregarded massing issues. The result was a floor, which was square in proportion. However, several missing rooms on the southeast corner prevented it from being a full square plan. The Main façade (North Façade), though asymmetrical, retains its central hall triple arch vernacular. The civil war inflicted considerable damage to the house and the original timber roof was damaged beyond recuperation. A mortar shell buckling half of the west façade hit the southwest corner of the house. The original house was made up of soft limestone quarried from its own site. It was covered with plaster as it obviously had water leakage problems. In the first phase of the construction, a decision was taken to retain all structurally sound walls and to apply reinforced concrete jacketing on the interior faces. In the southwest corner a vertical circulation core was added as no vertical circulation existed initially and this location was the most technically feasible. After the analysis of the program and site, it was decided that a block of similar size to the old could be added. This new block was to be treated as a new building with its own dynamics, however, it was to be subtle enough so as not to overpower the iconic image of the old building nor disrupt the harmony of the project as a whole. The family to be housed consists of the parents, two girls and a boy. The children’s rooms are located in the more massive additional block and the zone in direct contact

ZEK 17 PRIVATE RESIDENCE, METN, LEBANON

with the old is de-materialized creating a living room space, which expands to the outside along the North south axis. The living space extends in both directions into an interiorized courtyard and a front porch area through two corresponding circulation galleries. The context in turn is filtered into the living space heart by a gradation between inside and outside. The boundaries between inside and outside are hence blurred. The subdivisions of the façade also continue inward and the finishing enhances this gradation. The boy’s room reflects the extroverted nature extending onto the courtyard. The girl’s rooms are placed symmetrically to each other creating a more intimate relationship between the two. Both are buffered from the main common spaces creating a more intimate privatized zone. In the living room the idea of the central hall of the original house is given a different edge. The central circulation zone resulting from the specialized usage of the space is mapped onto the façade in the triple arch. The middle arch acts as the door giving access to the outside. In the new block the circulation patterns are better reflected in a module that creates four bays -- contrasting with the three bays and five bays of the old block. The spatial modulation is carried over to the rest of the facades and in the interior space and floor finishing. In the old block the highest vantage point is given to the main reception halls and dining spaces. The master bedroom and the guest bedroom are both placed in the old block on the bedroom floor. The modulation in the new block carries over into the old block in the floor finishing as well as in some intrusions of the ceiling system. This latter enhances the reading of the building as a whole and carries the dialogue from the exterior to the interior.

HOUSES

LOFT BARN, USA

UNFOLDED ELEVATIONS

DIAGRAM : HOUSE/AGRICULTURAL RESERVE

HOUSES

LOFT BARN BRIDGEHAMPTON, NY, USA Facing an uninterrupted view of an Agricultural Reserve in Bridgehampton, the design of the house mediates between an ideal orientation towards the Reserve and an intrusive shadow over the landscape that this orientation creates. This is achieved by shifting the second floor of the house, having the house cast a shadow on itself and limiting its shadow impact on the landscape. Composed of five bedrooms, the house is a modern version of a Hamptons Barn, with a Board and Batten siding that joins roof and walls into a continuous monolith. A series of interlocking voids, both indoor and outdoor in the form of decks and double volumes, connect the house from the inside to the landscape on the north and the south. On the inside, the warping of the form creates bends in the skin of the house to bring the south light in.

CONCEPT DIAGRAM

LOFT BARN, USA

58 MODEL PHOTOS

HOUSES

CROSS SECTIONS

SECTIONS

ALTHANI VILLA, QATAR

60 MASTER QUARTERS DROP-OFF VIEW

HOUSES

ALTHANI VILLA THE PEARL, QATAR The project typology is a cross between the introverted courtyard tradition and the landscape - immersed western villa. The most prominent surrounding landscape-the sea, is let in through the different forms of water landscapes (swimming pool, lap infinity pool, reflecting pools), reclaiming the horizon all through the site, reversing an otherwise dead-end condition; though privacy could be obtained through the vertical shield of the waterfall connecting the two pools stacked vertically. The villa knits its wings in and away from the landscape organizing the relationships among the living quarters on the ground floor, and the master’s quarters and the guest quarters on the second floor. The living quarters are accessed sideways, and are located adjacent to the pool, with views of the sea. The sitting area, dining area and kitchen are backed up alongside the reflecting pools in the courtyard. A basement, with light from the reflecting pools, has direct access from the kitchen and sitting areas for multipurpose rooms, servants’ quarters, storage, and technical rooms. Privacy for the master’s quarters is attained through one leg of the villa dipped in the landscape, ramping up to the second floor to give direct exclusive car access to a private outdoor terrace with a lap infinity pool and a private wing of sleeping – living, all tucked to the far end of the site, seemingly floating over the sea. Another drop-off shortcut is provided from the courtyard outdoor directly to the master’s living quarters on the second floor. The guest quarters on the second floor have their direct access from the entry area. An open plan provides sleeping and living for hosted guests with façades lining the front of the building and tilting away from the master’s terrace wing to maintain its privacy, yet open the views to the sea. A light-well cuts through the quarters providing light to the quarters and the courtyard underneath.

GUEST/ PUBLIC DROP-OFF VIEW

62 STREET SIDE VIEW

63 SEA SIDE VIEW

PEARL MARZOOK - KUWAIT

MIXED-USE DEVELOPMENT

PEARL MARZOOK MIXED-USE DEVELOPMENT RAS SALMIYA, KUWAIT The Pearl Marzook, a landmark of modern housing in Kuwait, is being retooled to reclaim its iconic presence and readapt to today’s housing market challenges. The complex is composed of 3 residential blocks internalizing an open courtyard - a vertical garden. The ground floor, elevated on pilotis, has retail program all along. The project includes redressing the façade skin by expanded metal mesh with “pearl” finish - showing the original sandstone façade underneath - renovating 112 split level duplex apartments, and rethinking the ground floor circulation flows and programmatic ingredients. A glass pavilion central lobby will be introduced along the main street to centralize access to the whole complex through an internal garden. Retail program will have double exposure, to the internal courtyard (back garden seating) and to the elevated shaded pilotis space along the building perimeter. The parking ramps are pushed to the back to maintain continuity between the lobby and the retail areas. The internal corridors are connected by “short-cut” stairs and outdoor public amenities - suspended gardens - to create a series of elevated public residents’ amenities.

PEARL MARZOOK - KUWAIT

The Parking Access Ramps: are pushed to the rear sides of the complex to clear any disruptions between the Central Lobby and the Commercial strips around the perimeter.

Basement Floor Plan

Ground Floor Plan

The Central Lobby: Currently, the complex functions with 3 distinct entrances which poses a logistical challenge as well as an architectural one. Instead, the new proposal creates a centralized approach through one central lobby along the street front with access to a back internal garden that distributes to the three different buildings’ cores. These cores are still accessible from the perimeter for tenants via access-cards.

The Central Ground Lobby, facing the main street, shares the elevated grounds with the commercial strip all along the building frontage. The commercial program needs to be rethought to have a dual function: a commercial one serving the neighborhood and another adding value to the apartments tenants functioning as an amenity to the residents. Having a specialized gymnasium, a coffeeshop with terrace access, a bookstore, a minimarket, a DVD-store, a laundromat etc are programs that add value to the commercial strip. Strict regulations for signage consistency, type of use, and operations need to be enforced to ensure the success and synergy with the dwellers and the neighborhood alike.

The Apartment Prototype: An understanding of the sectional quality of the apartments, and the dormant opportunities that can be revitalized drives the renovation of the apartments. On the upper floor, the existing dressing rooms, along the façade, are moved to the back to reclaim sea views along the façade. The guest bedroom (third bedroom) in the back captures natural light from a new window opening in the public corridor; sectionally although the window opening is high up in the corridor, it is at an acceptable level in the bedroom. With all internal planning changes, the signature staggered punched façade is maintained.

Lower Floor Plan

Upper Floor Plan

MIXED-USE DEVELOPMENT

The Pearl Marzook Faรงade: Currently, the faรงade has sandstone cladding. To maintain its original look and hold it intact, as currently the cladding is frequently falling apart, a corrosive resistant extended metal mesh is added to hold it without concealing its original quality. Studying the visibility of the extended metal mesh all along the faรงade is essential to maintain a rethinking of the original faรงade rather than an erasure. A study of the gradation of openings is essential to ensure a consistent see-through of the sandstone from bottom up and from front to back.

Corner Treatment

Expanded Metal Anchoring

BEIRUT MARINA، MIXED-USE DEVELOPMENT، BEIRUT, LEBANON

MIXED-USE DEVELOPMENT

BEIRUT MARINA MIXED-USE DEVELOPMENT BEIRUT, LEBANON Located in the heart of downtown Beirut, the site for the new Beirut Marina extends the existing Corniche along the seashore into a series of overlapping platforms. The Corniche is inflated to create an â&#x20AC;&#x2DC;urban beachâ&#x20AC;&#x2122;, with levels subtly articulated to provide outdoor spaces with public areas for artwork. The concept takes shape from strata and layers in forking vectors. Like the ancient beach that was once home to the site, the planar lapping waves of the sea, inspires striated spaces in horizontal layers as distinct from vertical objects. The horizontal and the planar become a geometric force shaping the new harbor spaces. The form allows a striated organization of public and private spaces which includes apartments, public facilities, restaurants, specialty stores, a yacht club and a harbormaster. The syncopated rhythm of platforms is achieved by constructing the overall curve of the Corniche in five angles relating to five reflecting pools. Due to variations in height along the Corniche, the platform levels and pools vary slightly in height allowing quiet, gravity-fed fountains to connect each pool level. Composed of 80 one-bedroom apartments, the building splits into two wings, producing a high ratio of exterior surface area to volume offering a maximum amount of views while maintaining a single serviceable building.

SITE PLAN

BEIRUT MARINA، MIXED-USE DEVELOPMENT، BEIRUT, LEBANON

MIXED-USE DEVELOPMENT

CONSTRUCTION PHOTO

BEIRUT MARINA، MIXED-USE DEVELOPMENT، BEIRUT, LEBANON

SETTING

73 POOL SIDE VIEW

AWB 654 RESIDENTIAL BUILDING 2000, ASHRAFIEH, LEBANON

RESIDENTIAL

AWB 654 RESIDENTIAL BUILDING ASHRAFIEH, BEIRUT, LEBANON This program consists of the following: Four shop fronts Six repetitive single floor three-bedroom apartments A two-storey three-bedroom penthouse. The site is relatively small with non-parallel sides and a rectangular proportion. The longest side faces a ninemeter wide road while the rest is engulfed in the dense urban fabric. This condition creates a long street frontage that constitutes the main outlook for most of the spaces. The split between the two masses that form the building reflect the typical regional subdivision of the domestic program into private and public. The idea of private and public spaces is rendered clearly with two distinctive facades separated by a glass strip. This curtain wall reflects the sky, giving the illusion of two buildings instead of one. Hence the street facade becomes subtler in its urban impact. The generated angles from the clash of two masses are absorbed in the circulation zones. The balcony area is primarily allocated between the dining and living spaces and given a room-size proportion, thus allowing for the convenient utilization of an outdoor extension. The balcony orients itself towards the street perspective as it protrudes from the mass. The building makes an offering to the urban space by widening the sidewalk on the street side into a front open space. One large backspace allows sunlight to reach the ground floor level, flooding it with light and ventilating the service areas. The main entrance of the building acts as a bridge between the front open space and the back garden creating a well-lit and ventilated reception. The building was developed as a molded concrete and hard block load-bearing structure. Carefully chosen exterior cladding materials enhance the projected image of the interior spaces. The climate responsive, warm colored terracotta facing combined with deep fenestration protects the need for privacy of the bedroom block. The neutral color of granulated plaster finish on the side of the living areas brings forth the refined glass and stainless steel detailing of the balcony, which when combined with the full-height glazed bay allows this exterior extension to invade the reception area and blur the traditional edge between interior and exterior.

Duplex upper 1. master bedroom 2. master bathroom 3. bedroom 4. bathroom 5. ofÀce 6. balcony 7. void Duplex lower 1. entrance 2. living room 3. dining room 4. balcony 5. kitchen 6. guest bathroom 7. tv room 8. master bedroom 9. master bathroom 10. bedroom 11. bathroom 12. terrace 13. pool Typical Áoor 1. entrance 2. living room 3. dining room 4. balcony 5. kitchen 6. guest bedroom 7. TV room 8. master bedroom 9. master bathroom 10. bedroom 11. bathroom

Ground Áoor 1. main entrance 2. shop 1 3. shop 1 outdoor 4. shop 2 5. shop 3 6. shop 4 7. guard 8. front space 9. back space

AWB 654 RESIDENTIAL BUILDING 2000

RESIDENTIAL

JUMEIRAH VILLAGE 10H002, DUBAI, UAE

RESIDENTIAL

JUMEIRAH VILLAGE 10H002 DUBAI, UAE A residential complex, the block is composed of three different typologies (townhouses, duplex apartments and penthouses) that sit side by side on the same site, sharing the most viable infrastructure, the car parking, and a scenic backyard. The form is sculpted and grafted to reclaim spaciousness in a densified BUA. Simultaneously, the faceted volume creates a variety in tectonic iconicity for the three different dwelling types. In the absence of a specific user, physical context and history, this G+4 apartment typology creates its own autonomy and diversity, mirroring a flourishing metropolis of independent urban archipelagoes.

FLOOR PLAN

STREET VIEW

TOP VIEW

JUMEIRAH VILLAGE 10H002, DUBAI, UAE

RESIDENTIAL

SECTION THROUGH APARTMENT BUILDING ELEVATION

APARTMENT BUILDING ELEVATION

SECTION THROUGH - TOWN HOUSES BACK ELEVATION

TOWN HOUSES REAR LONG ELEVATION

INTERNAL COURTYARD VIEW SECTION THROUGH - TOWN HOUSES BACK ELEVATION

TOWN HOUSES REAR SIDE ELEVATION 81

JUMEIRAH RESIDENCES، DUBAI, UAE

RESIDENTIAL

AERIAL VIEW

PAD 10 OFFICE SPACE, KUWAIT CITY, KUWAIT

MAIN WORK SPACE

1: Conference 2: Service area 3: Reception 4: Open office

2 3

FLOOR PLAN

OFFICES

PAD 10 OFFICE SPACE KUWAIT CITY, KUWAIT PAD 10 is an interdisciplinary design studio that hosts creative minds to provide design solutions. The office is the work space of creative professionals who work in the fields of Architecture, Book Design, Branding, Editorial Design, Events, Exhibitions, Furniture, Identities, Interiors, Packaging, Posters, Print Matter, Publications, Rebranding, Signages and Websites. The tenth floor, with panoramic views of Kuwait’s urban center, is designed with a setback from the perimeter’s full height glass walls, while the remaining walls are painted matte black to suppress any glare or distraction from the breathtaking view on a nice day. The open plan layout stresses collaboration among disciplines. The desks, arranged in synchronization with the plan structural bays, compose a central strip running parallel to a low library shelving system. The desks’ surfaces are imprinted with graphic design and architectural references. The conference room is rendered semi-private by a library wall. The conference table - (deba) table, enforces the idea of an open plan by allowing no single person to head the table, but rather be on either side for a debate with moderation.

LIBRARY WALL

PAD 10 OFFICE SPACE, KUWAIT CITY, KUWAIT

OFFICES

LIBRARY WALL DRAWINGS

MAIN WORK SPACE

PAD 10 OFFICE SPACE, KUWAIT CITY, KUWAIT

90 CONFERENCE ROOM

OFFICES

(DEBA)TABLE (Deba)table is a conference a table that cannot be headed on either side due to dip all along its central spine. Lasercut slices rest side by side on a brushed stainless steel metal frame. The slicesâ&#x20AC;&#x2122; materials can be syncopated to suggest any desired combination. The dimensions of the table are 120 x 240 cm.

GULF REAL ESTATE CO. HEAD OFFICE

9922

OFFICES

GULF REAL ESTATE COMPANY HEAD OFFICE SHARQ, KUWAIT CITY The boomerang shape of the floor plan, intertwined with two tiered client interface - with a reception area at the front and a secretary area in the middle, catering to the executive team - creates a series of office spaces with alcove open spaces in between to mediate public with staff.

1. General manager office 2. PR marketing specialist office 3. PR marketing assistants (2) 4. Finance manager office 5. Cashier office 6. Real estate dept manager office

7. Customer service 8. Receptionist 9. Secretary 10. Filing area 11. Waiting area 12. Conference room

HUMAN RIGHTS IN CHINA (HRIC), NEW YORK CITY, USA

OFFICE-TO-OFFICE VIEW

OFFICES

HUMAN RIGHTS IN CHINA (HRIC) NEW YORK CITY, USA The Human Rights in China (HRIC) is an international organization founded by Chinese scientists and scholars to promote and protect the human rights of those living in China. The office is designed to create an open and flexible work space. Adaptability was achieved by creating a non-partitioned space and incorporating movable furniture which rests on floor tracks and can be adjusted according to the desired office configuration. Located on the 33rd floor of the Empire State Building, this space offers scenic views of Midtown and Upper Manhattan.

And/or

Basic

And/or

Conference

Art gallery

Basic

The movable thick walls are a redundant adaptation of off-the-shelf â&#x20AC;&#x2DC;compact shelvingâ&#x20AC;&#x2122; storage systems. They are staggered to adapt the plan to different modes of operation

Conference

Art gallery

Three different layouts add up to accommodate for the program by alternating, dragging, shifting/swapping, shuffling, extending, reducing, and erasing spaces temporarily.

HUMAN RIGHTS IN CHINA (HRIC), NEW YORK CITY, USA

ONE OFFICE VIEW

OFFICES

ONE-OFFICE PLAN

OFFICE-TO-OFFICE PLAN The “office-to-office” and the “one-office” layouts are diametrically opposed spatial interpretations of the clients’ conflicting aspirations. Either scenario generates a non-conforming office typology that is devoid of typical intermediate circulation corridors to accommodate the required program surplus.

HUMAN RIGHTS IN CHINA (HRIC), NEW YORK CITY, USA

PUSH-PULL PARTITIONS

OFFICES

The plan suggests neither a set function nor a type, but rather emblems of disappearing, emerging and shifting spaces that are capable of hosting temporary programs that mirror the ever-changing tactics of an activist space.

The design intervention is offset from the landmark building floor/ wall envelope with a data, power and ventilation buffer zone. The program floats on bamboo raised flooring with inset tracks for â&#x20AC;&#x153;movable thick wallsâ&#x20AC;? and embedded power and data infrastructure. The ceiling drops to conceal existing and added HVAC system.

CROSBY APARTMENT, NEW YORK CITY, USA

100

LIVING AREA

RESIDENTIAL

CROSBY APARTMENT NEW YORK CITY, USA The design addresses an inherent domestic space challenge, that of marrying the much needed large volume of storage with the desired openness and spatiality of a loft. In that sense, the design provides a front-to-back spatial fluidity across the different rooms. This is achieved through the use of a large foldable glass door system, and flanking this space with a deep sliding cabinet wall, a shallow storage space embedded in an elevated platform and programmed wall containing all the apartment’s services (bathrooms and kitchen). The ‘back of house’ becomes the front of house in a flattened, hierarchical fashion. Spaces spill into each other— the sink of the bathroom is in the bedroom, the music room contracts and expands, allowing more or less space to the kitchen; or the walk in closet— all based on the needs of both the husband and the wife. The architecture is manifested as a negotiation between the two.

READING AREA

OFFICE NOOK

4 1

8 10 7 6

FLOOR PLAN

1: Majlis 2: Living 3: Dining 4: Master bedroom 5: Corner office

6: Guest bathroom 7: Kitchen 8: Guest bedroom/ Music room 9: Master closet 10: Master bathroom

101

CROSBY APARTMENT, NEW YORK CITY, USA

BUILT-IN STORAGE

RAISED MAJLIS AREA

102

RESIDENTIAL

COAT CLOSET

LIVING AREA

103

CROSBY APARTMENT, NEW YORK CITY, USA

DOOR-IN-DOOR

104

SLIDING STORAGE

RESIDENTIAL

SLIDE-IN MASTER CLOSET

SLIDE-OUT MUSIC ROOM

105

CROSBY APARTMENT, NEW YORK CITY, USA

106 BUILT-IN MASTER CLOSET

RESIDENTIAL

SLEEPING AREA

107

CROSBY APARTMENT, NEW YORK CITY, USA

EATING AREA

108

RESIDENTIAL

109

CROSBY APARTMENT, NEW YORK CITY, USA

MASTER BATHROOM

110

RESIDENTIAL

GUEST BATHROOM

111

FORSYTH RESIDENCE, NEW YORK CITY, USA

112

PEEKABOO WALL MOTHER’S SIDE

RESIDENTIAL

FORSYTH RESIDENCE NEW YORK CITY, USA In Manhattan’s highly dense setting, the luxury of segregating between private/public or service/ served space becomes questionable. The typically consolidated services in autonomous rooms (daughter’s bedroom, guest bathroom) are fragmented down to the singular functions (toilet, lavatory, shower, etc.) to be psychologically reassembled and spatially shared. The design of this apartment investigates the play between the core and the corridor, organizing the functions of domesticity in relation to them. The wet programs are broken down to singular functions, compartmentalized, and flattened all around the central building core; while in the master bedroom, they line up along the perimeter, stretching the corridor all the way to the central built-in bed. The passive role of the core is reversed to an animated multipurpose Swiss Knife-like wet area and mirrored bedroom with central soak-in tub.

PEEKABOO WALL DAUGHTER’S SIDE

3 4 2

FLOOR PLAN

1: Master bedroom 2: Sitting 3: Kitchen 4: Dining 5: Child bedroom 6: Bathroom 7: Office 8: Living

6 7

113

FORSYTH RESIDENCE, NEW YORK CITY, USA

MASTER BATH TUB IN BEDROOM

114

RESIDENTIAL

MASTER TOILET

115

FORSYTH RESIDENCE, NEW YORK CITY, USA

BUILT-IN CLOSET DETAIL

MASTER WALK-IN CLOSET

116

RESIDENTIAL

GUEST/ DAUGHTER TOILET

117

200 CENTRAL PARK SOUTH, NEW YORK CITY, USA

118

RESIDENTIAL

200 CENTRAL PARK SOUTH NEW YORK CITY, USA Retrofitting the wet areas in an apartment on Central Park South raised an anomaly between the expediency of the toilet and the luxury of the setting. The detail of the â&#x20AC;&#x153;accessoryâ&#x20AC;? recedes to the full height architectural surfaces and is dissolved between them; the medicine cabinet is the intersection of two wall surfaces, the fixtures are pinned to the marble slabs, the showerhead is embedded in the ceiling, and the hardware mechanisms are concealed within the architectural surfaces. Multiple projections and reflections of the body and its mirror image are a result of the interplay between the bi-fold mirrors, the sliding glass panes, the hinged mosaic panels, and the full-height polished marble slabs.

119

200 CENTRAL PARK SOUTH, NEW YORK CITY, USA

120

RESIDENTIAL

121

SAMOVAR, QATAR

122

RETAIL

SAMOVAR CARPETS & ANTIQUES THE PEARL, QATAR Samovar Carpets & Antiques sets foot at the Pearl in Qatar with a very small footprint and relatively high ceiling. The main exhibition space is along the walls with a small floor area for customers’ display. Ceiling mounted tracks are used for displaying carpets where all walls are to be concealed by different carpet patterns, except for the impossible spiral stair surface to be exploited by carpets’ display. This architectural moment for the visual refuge is centrally located to allow full exploitation of the perimeter walls, yet visually and spatially curate in between the different wall spaces meant to display different lines of carpets: Persian, Contemporary, Classic etc.

MEZZANINE FLOOR PLAN

GROUND FLOOR PLAN

123

124

RETAIL

BEMO BANK BRANCH KANTARI, BEIRUT, LEBANON Efficient and strategically located functional requirements allow for voluminous and generous public spaces. A wall unifies the public and private with vertical blades of glass acting as transparent barriers, thus personalizing the relationship between client and teller. Standard size boxes that are fixed onto the glass blades at different heights unify the teller counters and storage cabinets. Fixation devices, such as screws and bolts, are all hidden and interiorized. This same idea is carried over into the paperless image of the bank. The development of a sliding shelving system utilizes the undulations in the walls while regularizing and redefining the space The stairs act as a hinge between the public and private zones in the bank branch. One of the major concerns at the time of construction was the location in Beirut Central District and its role as an advertising hub. The branch was also to be the flagship for a new corporate image and a prototype for a more relaxed banking environment. The stairs would lead to a polyvalent meeting room accessible directly from the entrance, which would cater both to branch related and promotional needs. The private functions are accessible from a more discreet entrance from below the stairs. The Bemo Kantari interior falls within the category of architectural interiors that treat interior space as site and devises architectonics within that space.

125

BEMO BANK BRANCH, BEIRUT, LEBANON

126

RETAIL

127

20 PEACOCKS, NEW YORK CITY, USA

STOREFRONT

FLOOR PLAN

128

RETAIL

20 PEACOCKS NEW YORK CITY, USA This tiny store located at 20 Clinton Street in the Lower East side neighborhood of Manhattan has a very large entry area. A V-shaped entry area opens to the long commercial sidewalk and thus doubles the narrow width of the storefront, doubling the rather low visibility into the store. The store reinterprets the store front by duplicating it into two faĂ§ades, addressing the movement of the shoppers from both sides of the sidewalk, and eliminating glass reflection that hinders the perception of merchandise from an angle. Catering exclusively to men with a collection of shirts and ties, the store is transformed into an articulation that defines the torso as its design guidelineâ&#x20AC;&#x201D; anything above and below is left unfinished, in raw condition. The horizontal datum lines extend around the perimeter to interrupt the unfinished walls with an adaptable shelving system. This shelving system is organized in a band that travels the store and folds back into the storefront, allowing the merchandise to be frequently rearranged according to season, size, colors, fabric etc. The proportionally tall new storefront has three different types of openings: horizontal, vertical and square, each fulfilling a distinct purpose; a window for specific merchandise, a door, and a large vitrine for mannequins. The large entry storefront thus becomes a generous gesture by a very small store in a very big city.

DOOR HANDLE DETAIL

129

20 PEACOCKS, NEW YORK CITY, USA

130

ENTRANCE

RETAIL

CASH WRAP

131

20 PEACOCKS, NEW YORK CITY, USA

132

INTERIOR VIEW - RETAIL SHELVING SETUP

RETAIL

INTERIOR VIEW - GALLERY HANGING SETUP

133

INTERMIX, USA

BAL HARBOUR, FL. INTERIOR VIEWS

134

RETAIL

INTERMIX USA The design for this series of stores reinterprets the standard racking system of retail stores into one continuous pipe merging the different ‘zones’ of the store into one contiguous shopping experience. Influenced by different fabrication techniques of fashion designers, the store incorporates different fabrics with different transparencies that are joined by stitches, buttons and zippers. Stacked cloth seats, from scraps of designers’ fabrics, are scattered around the changing rooms. Each will be adapted to its specific setting by varied articulations on the curtains/ fabrics and furniture according to geographical specificity.

135

INTERMIX, USA

136

RETAIL

FIFTH AVENUE, NY. FLOOR PLAN

FIFTH AVENUE, NY. INTERIOR VIEWS

137

INTERMIX, USA

138

RETAIL

FIFTH AVENUE, NY. INTERIOR VIEWS

139

ROBERTSON BLVD, LA. STOREFRONT INTERMIX, USA

140

RETAIL

141

INTERMIX, USA

142

ROBERTSON BLVD, LA. INTERIOR VIEWS

RETAIL

143

INTERMIX, USA

144

RETAIL

LAS VEGAS, NV. INTERIOR VIEWS

145

INTERMIX, USA

146

MADISON AVENUE, NY. STOREFRONT

RETAIL

147

INTERMIX, USA

148

MADISON AVENUE, NY. INTERIOR VIEWS

RETAIL

149

INTERMIX, USA

150

MADISON AVENUE, NY. INTERIOR VIEWS

RETAIL

151

INTERMIX, USA

152

MANHASSET, NY. STOREFRONT

RETAIL

153

INTERMIX, USA

154

RETAIL

MANHASSET, NY. INTERIOR VIEWS

155

INTERMIX, USA

156

MANHASSET, NY. INTERIOR VIEW

RETAIL

157

INTERMIX, USA

158

SOHO, NY. INTERIOR VIEWS

RETAIL

159

INTERMIX, USA

160

SOHO, NY. INTERIOR VIEWS

RETAIL

161

TERRA 47, NEW YORK CITY, USA

INTERIOR VIEW

162

RESTAURANT

TERRA 47 NEW YORK CITY, USA The bar— once a counter top for cookies, espresso machines and coffee makers— has been turned into an en-counter amidst dispassionate ceramic tiles, showy Moroccan tiles and soft upholstery; keeping the existing trappings of ornamental floor tiles, stained glass cupola and wall art. Pleasingly familiar for a regular, it also makes for an unusual déjà vu for a first time visitor.

163

LE COMPTOIR WINE RETAILER, ASHRAFIEH, LEBANON

164

RETAIL

LE COMPTOIR WINE RETAILER ASHRAFIEH, BEIRUT, LEBANON The program is a wine shop on Abdel Wahab El Inglizi Street. It consists of a ground floor, a mezzanine/upper level and a basement. The ground floor includes chilled wine closets with a variety of wine labels for consumer retail, a large counter for casual wine tasting, and a spirits section. The upper level includes the administration and delicatessen. In the basement we find two large refrigerated wine cellars and a VIP wine tasting table. The brief included two separate shop fronts on the ground floor with their own mezzanines, a space above the ramp initially accessible from the building and adjacent to one of the shops, though lying at a lower level than the mezzanine, and a basement cellar with some ancillary spaces. The challenge was to link these elements to constitute one shop without jeopardizing the structural integrity of the existing building they were a part of. The shop front was inflated into a space where seasonal installations would be displayed. As a kick-start for this idea a pseudo-mashrabia sculpture, composed of empty bottles of wine stacked into steel frames, form a series of full-height swiveling panels. Centrally, the counter or the “comptoir” is placed as a central element in the space; a free floating en-counter where “spirits” engage in dialogue. The staircase was placed diagonally in the space thus using its architectonic form both as a filter/ screen and as an indicator of levels of privacy in moving around it or below it.

165

LE COMPTOIR WINE RETAILER, ASHRAFIEH, LEBANON

166

RETAIL

167

HOLMESTRAND MUNICIPALITY, HOLMESTRAND, NORWAY

170

URBAN

HOLMESTRAND MUNICIPALITY HOLMESTRAND, NORWAY

Val de Vézère in France forms one the world’s oldest urban systems of settlement. For almost 40,000 years, a constructed geography has unfolded in the valley with the Vézère river carving out the meandering valley in the soft sandstone of the Dordogne area, creating cliffs of 50 – 100 meters with natural caves and shelves. The caves were inhabited and around them grew small villages. What turned this landscape corridor into one continuous urban system, however, is that the villages were linked by the river. The river formed a public infrastructure providing the entire valley with food, energy and transportation. In addition to this naturally occurring infrastructure, the cave dwellers developed a communication system. Caves located high up in the cliff walls formed excellent observation points from which one could overlook large stretches of the valley as well as send signals to other caves informing them of incoming game or warn against advancing enemies. The configuration of cliff, water and cave/ tunnel, is also typical of any fjord landscape in Norway. Large parts of the Norwegian coastline are inhabited according to the same algorithm: the juxtaposition of cliff (communication node), cave (settlement) and waterfront (transportation system). In the small town of Holmestrand at the Oslo Fjord, the urban context of the cliff creates a rupture between the urban center at its foot and the suburban population at the top of the cliff.

2 3

5 6

7 8

1. Private villas 2. Elevator building 3. Historic path/ platform 4. Grottos 5. Admin. Block 6. Train tracks 7. Park 8. Pavilions 9. Existing hotel 10. New hotel lobby 11. Hotel extension

171

HOLMESTRAND MUNICIPALITY, HOLMESTRAND, NORWAY

172

URBAN

NIGHT VIEW

FRONT ELEVATION

CROSS SECTION

173

MARTYRS’ SQUARE COMPETITION, BEIRUT, LEBANON

174

URBAN

MARTYRS’ SQUARE COMPETITION BEIRUT, LEBANON The ‘Green Line’ divided Beirut during the Civil War into East Beirut - predominantly Christian, and West Beirut - predominantly Muslim. Between the two, a no man’s land (except for snipers) stretched along that line, culminating in downtown Beirut, and specifically in Martyrs’ Square, site of this competition. This demarcation line of the Lebanese war between East and West Beirut is redefined and reintroduced here by another demarcation line, this time that of sport activities. Literally recreating the wartime demarcation line as a conflict between two opposing teams, the tension between the different factions of Lebanese society is kept and can find its discharge in a non-military albeit political setting. Separating local confessional teams or the Lebanese national team with foreign teams, this line would epitomize the changing political landscape of our society, one that cannot find a proper reflection of its aspirations in the hijacked/ divided political system, therefore lets those aspirations be projected onto the playing field. Inflating itself to become a performing arts stage, the line disappears spatially only to reappear again. This Play Square (3) stands in contrast to Nijmeh Square (2), marked by the Parliament, the latter being an introverted centrifugal space of supposed political expression, whose center - a clock - can never be occupied by protesters. Play Square also contrasts the urban hegemony of the Ottoman Serail (1) that states no buildings can be built higher than the office of the Prime Minister’s view to the sea. To these controlled spaces, Play Square embraces the city with all its angles and views. It is a multiplicity of identities, an architectural carte blanche for urban dwellers to occupy. The pedestrian arena/bleachers would occupy the streets in an architectural/urban standoff with the proposed vehicular driven planning. Sculpted with multidirectional bleachers and performing podiums, the square becomes the instant speaker’s corner, a space of dissent. The northern end of the Square leaps into the water by introducing a mountain, connecting the Square ‘green’ to the city’s blue, the Mediterranean sea.The mountain houses a series of museum structures linking it to both archeology and the maritime history of the city, of which the port is the genesis. It is also centered on the Museum of Natural History. With the ongoing Lebanese dispute over recent history (there is no official history book that all agree on), The Museum of Natural History will examine and document Lebanon in its regional, geographical and natural setting, a fresh pre-colonial take on the Middle East. The mountain fill is in direct relation to the archeological cut and to that of the overall site excavation. The formation of the mountain would use the soil from those digs to create its identity. Rain water and grey water in general is collected from the new downtown area and the Arena and channeled by gravity to help irrigate the mountain. On a more political level, confessional associations that are linked to geography (Sunnis from Beirut, Shiites from the south, Druze and Maronites from the mountains) are subverted with the introduction of a mountain in Beirut.

175

AKBUK PENINSULA, BODRUM, TURKEY

176

SITE MODEL

URBAN

AKBUK PENINSULA BODRUM, TURKEY The project is an eco-development master plan comprising apartments, garden villas, townhouses and a spa. The urban strategy for this eco resort focused on a hyper densification of the residential units into three dense-packed developments. Subsequently, three different typologies developed: the above-ground apartment units, the on-ground villas and the belowground townhouse fingers. The total floor area is 26,000 sq. m.

SITE PLAN

177

HYBRID GRID CITY, RIYADH, KSA

178

URBAN

URBAN NODES: FRIDAY MOSQUES

URBAN HILLS

CULTURAL VALLEY

HYBRID GRID CITY RIYADH, KSA

URBAN SILHOUETTES

URBAN FABRIC

ELEMENTARY SCHOOLS

CULTURAL CENTER HEALTH CENTER POST OFFICE

The resulting plan is an urban design that is as rich in its silhouette as that of Istanbul, achieved by regaining the majestic heights of the mosques, with its minarets punctuating the sky and building up to it in the residential grain of the neighborhood.

URBAN DISTRIBUTIONS OF PUBLIC BUILDINGS

PRIMARY SCHOOLS

KINDERGARTENS

R:800m

FRIDAY MOSQUES

R:800m

R:550m

LOCAL MOSQUES

R:275m

R:550m

R:275m

LAND USE

A further development of this idea would distort the grid by bending the major vehicular streets, creating a sense of a visual dead-end as one is approaching the mosque by car, while maintaining a clear vehicular access from one end of the site to the next.

Implemented by Doxiades in modern Riyadh, the Grid is redefined for this project in a new understanding that is both modern and historical. Its horizontal twodimensional nature is warped and distorted into a third-dimensional topology, that of the two Friday mosques that constitute two hills. Easily identifiable from all corners and shaping the silhouette of the neighborhood, they become visual markers of orientation, a seminal role played by the mosque across all ancient Islamic cities.

BENDING THE GRID

Hybrid Grid

INTEGRATION OF THE LOCAL MOSQUE

Integrated/ Elevated Mosques Along with the Hybrid Grid urban design strategy, the main religious and institutional buildings are aligned at the edge between the Grid and the fabric. Seen from the local neighborhood streets (alleys), the mosques are integrated with the fabric and are not only perceived, but also experienced as part of it. Both the residential units and the commercial fabric continue into the local mosques structures and the Friday mosques structures respectively, and form the imamâ&#x20AC;&#x2122;s residences on one hand and a Souk during the rest of the week on the other. This integration is characteristic of urban planning strategies in traditional Arab cities. In parallel, the local mosque is reduced to its minimal of ablution space - Mihrab, and a small praying hall. At peak hours, the praying area is allowed to expand into the alleys, the shaded squares and courtyards of the neighborhood. Conversely, seen from the major vehicular street (Avenues), the mosques and schools regain their image as independent structures floating above the streets as an iconographic presence.

The Grid, therefore, is a hybrid between modern notions of efficiency and organization, and is a more vernacular version of the desert landscape as well as the local organizational system of nodal and focal religious/ educational centers in the urban fabric.

ANALYSIS OF BUILDING HEIGHT DISTRIBUTION

Between these two artificial hills, reminiscent of desert dunes, a landscaped valley is created, whose main focus is the cultural center.

ICONICITY OF THE FRIDAY MOSQUE

179

HYBRID GRID CITY, RIYADH, KSA

Landscape: Prayer Rug

The roofs of the residential units would be planted with different colored vegetation based on an urban color allocation map, which would render the neighborhood as a Prayer Rug when seen from high vantage points.

180

AVENUES LIGHTING

ALLEYS LIGHTING

ENVIRONMENTAL OPEN SPACES

TRAFFIC & PARKING AREA DISTRIBUTION

LANDSCAPE PALETTE

PRAYER RUG

The streets are made of asphalt for the major avenues, basalt for the neighborhood streets and Grasscrete for the connecting arteries, to encourage their use for pedestrians, while allowing slow vehicular traffic.

CIRCULATION NETWORK HIERARCHIES (AVENUE, ALLEY, AND RIGHT-OF-WAY)

Plantation and vegetation is dispersed along the neighborhood to create a variety of shading for the different sectors. Along the major avenues, palm trees create a tall counterpoint to the minaret, leading up to them from both sides. The more intimate residential quarters and gardens are lined with Tamarisk trees (TAMARIX aphylla), originally used in the traditional buildings of Najd.

Environment

Circulation: Avenues and Alleys

In addition to the ‘Green Roofs’ providing insulation for the residence by creating a thermal mass, the new artificial valley, with its water basin, helps collect grey water from the adjacent hills and filters it for recycling - transforming the neighborhood into an ecological ‘machine’ that celebrates the mythical and physical importance of water (purity, Zamzam, Wudu) and vegetation in Islam and in the Qur’an. Along with filters for water purification, the water basin recycles grey water using special plants, and releases cleansed outflow to the neighborhood for irrigation of plants, fountains and outdoor air conditioning.

The neighborhood is articulated along major southeast/ northwest vehicular arteries that alternate between thoroughfares or avenues (23.5 m wide) cutting through the entire length of the neighborhood and lower speed vehicular/ pedestrian localized arteries or alleys (13.5 m wide), used mainly by the inhabitants of the different sectors. The alleys provide shortcuts to the different villas, and encourge pedestrian drifts which are inter over-lapped by the different squares and pocket gardens that act as recreational sporting fields for the neighborhood.

URBAN

The five avenues each have a distinctive character that is derived from the institutional programs that they serve - a cultural avenue leading to the cultural center, the Friday mosques avenue, the school avenue etc.

Materials For the housing, a minimum of 50 per cent of the exterior finish would be Saudi Kour, along with wood for the fenestration. The use of Corten steel is encouraged to give a rustic feel for the residential quarters.

In the perpendicular direction, running southwest/ northeast, are the pedestrian commercial souks that animate the neighborhood and connect to the city beyond. Also, one can find the main park/ water basin that runs along the valley created by the two mosques’ hills.

Zoning/ Building Code

B C

BUILDING ZONING OVERLAYS

PEDESTRIAN DRIFTS

AREA (M2)

ROADS & PEDESTRIAN WALKS 175994.75 GREEN & OPEN AREAS TOTAL AREA (M2)

Including Courtyards

24 %

33137.5

718042.5

100 %

Not Including Residential Courtyards Area Setback from Perimeter Street

RESIDENTIAL UNIT TYPE (A)

100 230 585

40%

R-2

RESIDENTIAL UNIT TYPE (B)

94 170 280

60%

R-2

RESIDENTIAL UNIT TYPE (B)

706 225 375

60%

R-3

RESIDENTIAL UNIT TYPE (C)

100 155 250

60%

R-4

RESIDENTIAL UNIT TYPE (D)

150 138 230

60%

R-5

RESIDENTIAL UNIT TYPE (E)

100 100 165

60%

TOTAL RESIDENTIAL AREA (M2)

COVERAGE AREA (%)

NO. OF FLOORS

R-1

BUILT UP AREA PER UNIT (M2)

RESIDENTIAL UNIT TYPE

PLOT AREA PER UNIT (M2)

RESIDENTIAL UNITS

408635.64

PUBLIC SERVICES

SERVICE

RELIGIOUS SERVICES

RS-1

LOCAL MOSQUE

1600 1600 275

RS-2

FRIDAY MOSQUE

6200 5381 550

EDUCATIONAL SERVICES

ES-1

KINDERGARTEN

1050 810 275

ES-2

BOYS PRIMARY SCHOOL

7000 6200 550

ES-3

GIRLS PRIMARY SCHOOL

7000 6200 550

ES-4

BOYS ELEMENTARY SCHOOL

7135 7135 800

ES-5

GIRLS ELEMENTARY SCHOOL

7135 7135 800

OTHER SERVICES

PS-1

PUBLIC GARDENS & CHILDREN'S PLAY

PS-2

HEALTH CENTER

PS-3

POST OFFICE

500 600 800

PS-4

CULTURAL CENTER

1600 2000 800

PS-5

COMMERCIAL SERVICES

10000

TOTAL AREA FOR SERVICES (M2)

33137.59

550 800

1700 1700 800

AREA TABULATION

14 %

NOTES

SERVICE RANGE

57 %

100274.5

LAND AREA PER UNIT (M2)

408635.75

PUBLIC SERVICES

AREA PER UNIT (M2)

RESIDENTIAL AREAS

NO. OF UNITS

PERCENTAGE TO TOTAL AREA (%)

NO. OF UNITS

Zone F dictates the valley condition governed by a required provision of water reservoirs/ water features and wetlands centered on the cultural center and spanning diagonally to connect the opposite ends of the commercial spines. Zones 1 to 7 set the exact percentages of land use mix among residential, religious, and institutional to comply with the competition brief.

LAND USE

CODE

COMMERCIAL SPINES

Zones A to E set the maximum height for buildings and are FAR engineered to generate an overall gradation in height creating the two “hills” with the Friday mosques at their centers. For example, Zone E dictates the highest building envelope, while Zone A is the lowest. Zones A to E also dictate a gradation in material finishes from 100 per cent Saudi Kour at the perimeter (Zone A) to a hybrid of Kour and Corten steel as one gets closer to the Friday mosque (Zone E).

LAND USE

CODE

The Zoning is devised as an intersection of the grid bands spanning along avenues (Zones 1 to 7 regulate land use) and the concentric rings rippling down from the Friday mosques (Zones A to F regulate FAR and exterior finishes).

6000 550

133412.11

181

HYBRID GRID CITY, RIYADH, KSA

RESIDENCE TYPE

VARIATIONS: 5 HEIGHT: 3 FLOORS AREA: 700 m2

RESIDENCE TYPE

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 450 m2

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 350 m2

PRIVATE PUBLIC RESIDENCE TYPE

VARIATIONS: 4 HEIGHT: 2 FLOORS AREA: 450 m2

HOUSING TYPOLOGIES

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 275 m2

RESIDENCE TYPE

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 100 m2

182

A clear hierarchy in circulation is conceived with the provision of major vehicular streets (catering to the major urban structures like the Friday mosques, schools etc), connecting to secondary and more local streets, and finally branching onto the right-of-ways that connect the fabric together. Within this urban circulation hierarchy, another one emerges at the architectural scale, as the main public entry to the residential units is provided from both the main vehicular streets as well as the local streets, while the private and service entries are provided from the right-of-ways.

URBAN

IMAM SAUD BIN FAISAL ROAD

LOCAL MOSQUE

LOCAL MOSQUE GIRLS KINDERGARTEN

BOYS PRIMARY+KINDERGARTEN GIRLS PRIMARY FRIDAY MOSQUE

GIRLS ELEMENTARY

CULTURAL CENTER LOCAL MOSQUE

BOYS ELEMENTARY

AL-KHAIR ROAD

LOCAL MOSQUE

WESTERN ROAD

BOYS PRIMARY

GIRLS PRIMARY+KINDERGARTEN

BOYS KINDERGARTEN

LOCAL MOSQUE

FRIDAY MOSQUE

LOCAL MOSQUE

SOUTHERN ROAD

QIBLA DIRECTION E

15 5

165 65 5

183

COMMUNITY DEVELOPMENT, FREIKEH, LEBANON

APARTMENT BLOCK

SITE SECTION

184

URBAN

COMMUNITY DEVELOPMENT FREIKEH, LEBANON Located in the northern mountains of Lebanon, this small community will cater to mid-income families, with individual houses as well as combined apartment blocks. A total of 100 units with different layouts, shared gardens and amenities create a new communal living organized along typical agricultural bearing walls, following the natural topography of the site to create variation both in plan and in section.

PROTOTYPE FAMILY HOUSE

SITE PLAN

185

OFFSHORE URBANISM, COASTLINE, LEBANON

186

AERIAL VIEW

URBAN

OFFSHORE URBANISM COASTLINE, LEBANON In light of the Israeli war on Lebanon in the summer of 2006: How do we unbuild our infrastructures, so that we do not fear their destruction? How do we disperse, so that we cannot be targeted as a collective? How do we dismantle voluntarily, so that we are not separated forcefully? How do we fight a war that we are not built for? Reclaiming the past of Phoenician traders and the present foreigners’ evacuations during the Israel-Hezbollah war on Lebanon in the summer of 2006, this proposal calls for an urban evacuation plan that covers the Lebanese territory and its entire population in the event of another military conflict. Integrated with the littoral highway, a series of barges infringe on the infrastructure with a self-service drive-in parking through designated “Evacuation Lanes”. Once ready, the barges depart, simultaneously dismantling the infrastructure behind. In an exodus to nowhere and a refuge in transit, the barges host architectural programs that make use of the ‘migration’ aspect of the evacuation to reflect on social issues that are of divisive and controversial nature back home. These barges provide a temporary exodus for healing purposes, considering the clinical potential of having a society distressed en masse. Once the behavioral patterns of the Lebanese patients back home simulate the ones the develop on the barges, the barges become mere capsules of social desires of any repressed society. They migrate to other countries and accumulate more subversive programs while providing temporary shelters, except for their roof gardens/ cemetery; it gets grounded across the littoral, dismantling the major vehicular highway and reconnecting the cities to the Mediterranean through public park piers. By rendering the highway defunct, akin to the green-line during the war, an ecological reversal of the current deforestation is likely to occur all along the littoral. A linear urban intervention along the whole Lebanese coastline, instead of a central one focused on Beirut, relieves the latter from its subservient trade role vis-à-vis its hinterland. DRAWINGS

MODEL PHOTOS

187

OFFSHORE URBANISM, COASTLINE, LEBANON

TRIPOLI SHIKKA

AL-BATROUN

JUBAYL JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH

188

URBAN

BEIRUT PRE-EVACUATION

189

OFFSHORE URBANISM, COASTLINE, LEBANON

TRIPOLI

SHIKKA

AL-BATROUN

JUBAYL

JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH BARGES ALONG SHORE

190

URBAN

TRIPOLI

SHIKKA

AL-BATROUN

JUBAYL

JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH BARGES OFFSHORE

191

192

BEIRUT POST-EVACUATION

SECTION PERSPECTIVE

193

OFFSHORE URBANISM, COASTLINE, LEBANON

EXILE TO NOWHERE

194

URBAN

â&#x20AC;&#x153;The image of the traveler depends not on power, but on motion, on daring to go into different worlds, use different languages, and understand a multiplicity of disguises, masks, and rhetorics. Travelers must suspend the claim of customary routine in order to live in new rhythms and rituals. Unlike the potentate who must guard only one place and defend its frontiers, the traveler crosses over, traverses territory, and abandons fixed positions all the time.â&#x20AC;? - Edward Said

195

URBAN

196

SITE PLAN MODEL

URBAN

SQUATVILLE EXHIBITION, ARTISTS SPACE NEW YORK CITY, USA

SQUATVILLE

Within American suburbia, city planning and zoning practices have left traditional living spaces isolated and surrounded by corporate zones for shopping, working, and recreation. Paradoxically, the proliferation of such amenities is based on their ability to simulate and duplicate the same domestic environment they try to substitute. Squatville investigates the zones of contact between the domestic and the corporate by using a subtractive approach to encroach upon the various corporate models that simulate different functions of domesticity. The domestic becomes franchised into the corporate; next to a hotel. The home subtracts its bedrooms, next to a restaurant, its kitchen. Its degreezero is its self-demise, a total parasite living on its surroundings. This is the condition of the homeless jet-setters, or in culture jamming terms of squatters. Home becomes an intersection of collectivities, where individuals can maneuver the tools provided by the corporate world. It exists in suspension from the ideal condition it originated from. To reclaim privacy, the upper level reinterprets suburbia as mezzanine. The elevator button swaps between the conditions of urbanity and sub urbanity (in this case super urbanity), between public and private.

197

URBAN

EXHIBITION

198

URBAN

SITE PLAN MODEL

199

URBAN

MODEL

200

URBAN

ABSOLUTE SUBURBIA

SQUATVILLE

HOME (MINUS) LIVING COLLAGE

201

URBAN

&EBRUARY

202

URBAN

203

TERMINAL CITY, DUBAI, UAE

204

URBAN

TERMINAL CITY DUBAI, UAE Modern Dubai is littered with architectural monuments that can be labeled as Superlative Architecture: an architecture that breeds on the next big thing, on the shock of the new by comparison to, and referential scale with what has just become old. In Dubai everything will soon be outdone; a taller, bigger and larger structure will quickly be erected. What is here today is almost immediately to be irrelevant, insignificant, not worth mentioning tomorrow. With Superlative Architecture, ‘what if?’, a present state of possibility, is replaced by ‘now what?’, an afterward state of wonder in doubt. There is no more aspiration, no more imagination. With more than 80 per cent of its inhabitants being non-nationals, Dubai is a displaced emirate - a metropolis catering to the global network of business and entertainment. Nobody is from Dubai, and yet everyone is. Terminal City structure is shaped by the overlapping geometry of the airplane trajectories from Dubai to the rest of the world (using the Emirates Airlines as our model). Our proposal, Terminal City, collapses the ‘city’ experience into one building. There is no more city fabric, no more blocks, no more street, no more lots, no more center, and consequently no more suburban spread and peripheries. This new city, caught vertically between two airport terminals, is the last structure that modern Dubai will ever need. Based on Dubai’s business and demographic models (catering to less than 20 per cent of Emirates nationals), it is a transient city wedged between constant arrivals and departures. With airports on the roof and on the ground, the city becomes groundless, noncontextual and a continuous duty-free experience - capitalism at its best (or worst!). On checking out of the terminal, one can only be on the way to checking in again, i.e. on the way out. In between, a vertical city stretches, with all the living, working and entertainment amenities a city holds. Terminal City even has a cemetery, which, located at the center of the structure, is the furthest point away from any gates.

SOUTH

DOMES

EAST

TIC FLIG

HTS

S HT ST EA L FLIG T’ IN

T AS HE HTS RT NO L FLIG T’

205

STI

LIG

RT H

TERMINAL CITY, DUBAI, UAE

206

URBAN

207

ANATOMY OF PLEASURE, PS1-MoMa, NEW YORK, USA

MODEL PHOTOS

210

EXHIBITIONS

ANATOMY OF PLEASURE, PS1-MoMa NEW YORK, USA ‘Pleasure as function’ is the master plan for our PS1 entry. From an extended bar, vertically expanded and linked to the institution’s bathroom along a simulated Blood Alcohol Content line with breathalyzers (Overhang Space), to a communal bed in an abstract Zen garden (Hangover Space), to a collective oversized ashtray with cigarette smoke and fog (Smoke Den); the Warm Up event becomes integrated with the installation which layers it into a spatial anatomy of the museum’s courtyards. The project addresses the hyper-regulation of public space through behavioral restrictions imposed by the city over the years: the public drinking ban, the public smoking ban, and the pornographic cleansing of Times Square, turning New York into a Nanny State. In response, it embraces and celebrates the uninhibited, and creates the platform for fun socialization in an economic time when it is needed the most.

211

EXHIBITIONS

Leftish Talk on Discourse Installation at the Storefront for Art and Architecture, NY.

212

EXHIBITIONS

2002 YOUNG ARCHITECTS FORUM: MATERIAL PROCESS THE ARCHITECTURAL LEAGUE OF NEW YORK, USA The installation starts from the available ‘materials’ in the space: floor with three sockets. Each socket spreads into five light fixtures, made of bent steel with a “down-up” curtain that holds the project information and a fluorescent bulb, a composition which reconstructs the floor as an inverted ceiling.

213

URBAN

ODD SIDE OF BROADWAY NEW YORK CITY, USA ‘Odd Side Of Broadway’ is a photographic documentation of the west side of Broadway, from Battery Park through the Bronx. It took one hundred 200ASA 35 mm rolls, in seven trips from 7 am to 12 noon, in the fall of 2000-01, to transform the miles of street into a 500-foot strip of snapshots. The operation registers the front façade strip from street level up to about a 30-foot height. It does not take into consideration the skyline or the city silhouette. It isolates itself from what is above and below to focus on the intersection of the oblique avenues in relation to the grid and its built context. Shot during weekend mornings, the project excludes the registers of daily human activity - which are temporal - and instead focuses on the language of the built fabric. The 180-foot long exhibit shows three fragments (4” x 6” print format) of Broadway in Uptown, Midtown and Downtown Manhattan. The incidental collation of the strips layout revels in the myriad differences and similarities that exist on Broadway: neighborhood to neighborhood, street to street, building to building. Four insertions along these strips flip into an interpretive depth, exposing what was behind and what came before, and are held within the flawlessness of the façade.

215

ODD SIDE OF BROADWAY, NEW YORK CITY, USA

216

URBAN

217

CREDITS JUMEIRAH CULTURAL CENTER DUBAI, UAE Credits: Partner-in-Charge: Naji Moujaes. Project Team: Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi. CZECH NATIONAL LIBRARY PRAGUE, THE CZECH REPUBLIC Credits: George Boueri, Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi, Salim al Kadi, Naji Moujaes. NATIONAL SEPTEMBER 11 MEMORIAL NEW YORK CITY, USA Credits: Davis Brody Bond, New York - USA Concept Architect: Naji Moujaes Completion Date: 2011

MUSEUM

THE CRIMINAL INVESTIGATION HEADQUARTERS AL-SURRA, KUWAIT Credits: Partner-in-Charge: Naji Moujaes. Team: Ziad Jamaleddine, Makram el Kadi, Karie Titus. FOUR FILMS PRINTING FACTORY SABHAN, KUWAIT Credits: Partner-in-Charge: Naji Moujaes. Team: Ziad Jamaleddine, Makram el Kadi, Karie Titus. VALEO SECURITY SYSTEMS SÃO PAULO, BRAZIL Credits: Davis Brody Bond, New York - USA. Anna Dietzsch, Naji Moujaes, Domenico Lio, Tobias Armbost, Maria Augusta Bueno. (GCP) Alessandra Araujo, Mauricio Reverendo, Daniel Mariano, Izabella Cruz, Adriana Oliveira, Dante Honda, Faride Elia, Veridiana Magalhães, Stella Tomiyoshi, Renata Bernardino, Agnaldo Amaral. Project Completion: 2006 Award: AIA New York State Design Award Citation 2007 EDAFAH SERVICED APARTMENTS KHOBAR, KSA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes.

BEIRUT MARINA MIXED-USE DEVELOPMENT BEIRUT, LEBANON Credits: Partner-in-Charge: Ziad Jamaleddine. Team: Makram el Kadi, Naji Moujaes. In collaboration with Steven Holl Architects and NGAP. JUMEIRAH VILLAGE 10H002 DUBAI, UAE Credits: Partner-in-Charge: Ziad Jamaleddine. Project Team: Makram el Kadi, Naji Moujaes. PAD 10 OFFICE SPACE KUWAIT CITY, KUWAIT Credits: Naji Moujaes, Raymund Yadao. GULF REAL ESTATE COMPANY HEAD OFFICE SHARQ, KUWAIT CITY Credits: Naji Moujaes, Kholoud Salman. HUMAN RIGHTS IN CHINA HEADQUARTERS EMPIRE STATE BUILDING, NEW YORK CITY - USA Credits: Davis Brody Bond, New York - USA. Partner in Charge: Steven Davis. Design Architect: Naji Moujaes. Project Manager: Mayine Yu. Award: AIA - New York Chapter - First Prize, Interior Design Awards. CROSBY APARTMENT NEW YORK CITY, USA Credits: Partner-in-Charge: Naji Moujaes. Project Team: Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi, Karie Titus. (Photos by Jody Kivort) FORSYTH RESIDENCE NEW YORK CITY, USA Credits: Partner-in-Charge: Naji Moujaes. Project Team: Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi, Karie Titus. (Photos by Jody Kivort)

ZEK 17 PRIVATE RESIDENCE DBAYEH, METN, LEBANON Credits: Raed Abillama Architects. Partner-in-Charge: Johnny Salman. Team: Manal Youssef.

200 CENTRAL PARK SOUTH NEW YORK CITY, USA Credits: Partner-in-Charge: Naji Moujaes. Project Team: Ziad Jamaleddine, Makram el Kadi, Salim al Kadi. (Photos by Jody Kivort)

LOFT BARN BRIDGEHAMPTON, NY, USA Credits: Partner-in-Charge: Makram el Kadi. Team: Ziad Jamaleddine, Naji Moujaes, Karie Titus.

SAMOVAR CARPETS & ANTIQUES THE PEARL, QATAR Credits: Naji Moujaes, Hassan Zaman.

AL-THANI VILLA THE PEARL, QATAR Credits: Naji Moujaes. Project Team: Ziad Jamaleddine, Makram el Kadi.

BEMO BANK BRANCH KANTARI, BEIRUT, LEBANON Credits: Raed Abillama Architects. Partner-in-Charge: Johnny Salman.

PEARL MARZOOK MIXED-USE DEVELOPMENT RAS SALMIYA, KUWAIT

20 PEACOCKS NEW YORK CITY, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes.

Credits: Tarek Aherraki, Naji Moujaes, Johnny Salman, Kholoud Salman, Raymund Yadao, Hassan Zaman. AWB 654 RESIDENTIAL BUILDING ASHRAFIEH, BEIRUT, LEBANON Credits: Raed Abillama Architects. Partner-in-Charge: Johnny Salman. Team: Yanni Elefteriadis.

218

INTERMIX USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes.

LE COMPTOIR WINE RETAILER ASHRAFIEH, BEIRUT, LEBANON Credits: Raed Abillama Architects. Partner-in-Charge: Johnny Salman. TERRA 47 NEW YORK CITY, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. HOLMESTRAND MUNICIPALITY HOLMESTRAND, NORWAY Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. In collaboration with studio hp AS. MARTYRS’ SQUARE COMPETITION BEIRUT, LEBANON Credits: Aby Feldman, Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. AKBUK PENINSULA BODRUM, TURKEY Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. In collaboration with Steven Holl Architects. HYBRID GRID CITY RIYADH, KSA Credits: George Boueri, Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. COMMUNITY DEVELOPMENT FREIKEH, LEBANON Credits: Partner-in-Charge: Makram el Kadi. Project Team: Ziad Jamaleddine, Naji Moujaes.

OFFSHORE URBANISM

COASTLINE, LEBANON Credits: Partner-in-Charge: Naji Moujaes. Project Team: Jasmin Behzadi, Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi, Salim al Kadi. SQUATVILLE EXHIBITION ARTISTS SPACE NEW YORK CITY, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. TERMINAL CITY DUBAI, UAE Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. ANATOMY OF PLEASURE, PS1-MoMa NEW YORK, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes. 2002 YOUNG ARCHITECTS FORUM: MATERIAL PROCESS THE ARCHITECTURAL LEAGUE OF NEW YORK, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes.

ODD SIDE OF BROADWAY NEW YORK CITY, USA Credits: Naji Moujaes.

219

EDUCATION 1997 - 1999

Southern California Institute of Architecture, Vico Morcote – Vico Morcote (Switzerland) & Los Angeles (USA) Master in Architecture (MArch II)

1991 - 1996

American University of Beirut, Beirut, Lebanon Bachelor of Architecture

PROFESSIONAL EXPERIENCE 2010 - Present

PAD10, Sharq - Kuwait.

Criminal Investigations Headquarter, Kuwait. Concept Design.

Press Designs Storefront, Kuwait. Completed. Samovar Carpets & Antiques Showroom, The Pearl - Qatar. Completed Gulf Real Estate Co Head Offices, Kuwait. Completed. PAD 10 Offices, Kuwait. Completed. FourFilms Printing Group, Kuwait. Current Phase: Design Development. With SSH. 2001 - 2009

L.E.FT, New York City-USA.

Jumeirah Residential Block, UAE. Current Phase: Design Development. Crosby Residence, New York - USA. Completed. Forsyth Residence, New York - USA. Completed. Intermix Retail Stores, New York - USA. Completed. Jumeirah Cultural Center, Dubai – UAE. Invited Competition. Beirut Marina, Beirut Central District. Current Phase: Construction. Arab Cultural Center, Washington DC. Mosaic Foundation, First Prize Winner. Center for Architecture, Prague. First Honourable mention. AIA international competition. 2002 - 2005

Aedas Davis Brody Bond, New York City-USA.

-World Trade Center Memorial Museum, New York City. Project Architect. -World Trade Center Memorial, New York, Schematic Design. Senior Designer. -UniBanco Headquarters, Brazil. Project Architect. -Valeo São Paulo, Brazil. Project Architect. -NYC2012 with Office d’A and Joel Sanders. -Human Rights in China Offices, Empire State Building, NY. Project Architect. AIA NY Chapter Design Award. -Valeo, Auburn Hills North Facilities Consolidation. Project Architect. 1998 - 1997

Riken Yamamoto & Fieldshop, Yokohama-Japan.

Desert Museum, Tottori-Ken. 1996

Massimiliano Fuksas Architetto, Rome, Italy.

Cergy-Le-Haut Urban Project. 220

ACADEMIC EXPERIENCE 2008

PennDesignThird-Year Graduate Advanced Architectural Design Studio. Studio critic.

2008

Rensselaer (RPI) School of Architecture. Studio critic.

2007

Lecture & Workshop at “Beirut Studio”. A summer workshop event with the collaboration of the Architectural Academy in Rotterdam, the Amsterdam Centre for Conflict studies of the University of Amsterdam.

2006

Cornell Architecture School visiting faculty spring 2006. Studio critic and seminar instructor.

2006

Jury member for NYFA (New York Foundation for the Arts) Architecture/ Environmental Structures

2006

Jury member for Young Architects Forum at the Architectural League, New York.

2007

Guest Critic. Final reviews, REX, Yale University.

2006

Guest Critic. Mid & Final reviews, Peter Cook, Columbia GSAPP.

2006

Guest Critic. M’Arch final projects, Cornell University.

2005

Guest Critic. Douglas Gaultier, Parsons.

2003

Guest Critic. Mark Tsurumaki (Lewis.Tsurumaki.Lewis), Parsons.

2002

Guest Critic. Eric Bunge (nArchitects), Parsons.

LECTURES 2008

“24 Hour Program on the Concept of Time” at the Guggenheim Museum, NYC.

2008

Harvard Design School, part of the MENA conference.

2008

“Thinking Metropolis” Temporary Spaces, Places, & Mobile Structures, in Copenhagen, Denmark.

2008

Public Spaces Along Waterfront Cities (The North Sea Area, Lisbon, Venice, and the Lebanese coastline)

2007

“Re-Thinking Beirut”, with Stefano Boeri at La Triennale Milan, Italy.

2006

International Symposium of Architecture, in Monterey, Mexico.

2006

Leftishism summer lecture series, Columbia University GSAPP, New York.

2005

Leftishist lecture in Oslo and Trondheim, Norway.

2004

Squatville, Artists Space, New York.

2003

Recent Work, Reykjavik, Iceland, Alvar Aalto’s Nordic House.

2002

‘Three Houses’, ‘Young Architects Forum’ lecture, Urban Center, New York.

2002

Post (war) Cards, Centre Canadien d’Architecture, Montreal, Canada.

2002

‘Threesome’, Philadelphia University School of Architecture.

1996

‘Reconstruction of War-stricken Cities’ Aarhus , Denmark.

221

HONORS AND AWARDS 2006

Finalist for Pamphlet Architecture 28 for DisOrientalism.

2005

Honor Award for AIA New York Chapter Design Awards 2005 for Human Rights in China Design.

2005

Winner of the AIA First Honorable Mention for International Competition Center for Architecture, Prague.

2005

Winner of the Arab Cultural Center vision competition organized by Mosaic Foundation.

2002

Winner of the Young Architect Forum award (Architectural League, NY).

PUBLICATIONS Books

Young Architects 6, Princeton Architectural Press, Mar 2005, New York. Participant. Young Architects 4, Princeton Architectural Press, Mar 2003, New York. Participant. Voyage, Nadim Karam & Atelier Hapsitus London: Booth-Clibborn Editions, 2000. Graphic Designer. Magazines

Mark Magazine, August 2008 Interior Design Magazine, March 2008 “With/Without”, “Spatial products, practices and politics in the Middle East”, launched at International Design Forum, Dubai. June 2007 AUB MainGate, Vol VI No.1, Fall 2007 Volume Magazine, issue # 14 Unsolicited Architecture, Dec 2007 pp 74-81 World Architecture, Issue 201, March 2007 Architectural Record, Dec 2006 Praxis Issue 8, May 2006. “Program Primer, WORK”. The Architect’s Newspaper.11_06.21.2006. “Open” Men’swear Boutique”. Build das Architekten – Germany, February 2006. “Constructive Cynicism”. Binfen Space Magazine – China. July 2005. “Intermix of L.E.FT”. Arquitectura e Vida issue 62 - Portugal. August 2006. “L.E.FT”. Bidoun Spring/Summer issue 2005. Terminal City. Metropolis Magazine Feb 2005, Intermix Bal Harbour. Retail Interiors That Are L.E.FT of Center Social Democratic Youth Party Magazine Jan 2005, Sweden. Parachute 108 October 2002, Canada. Architecture d’Aujourd’hui, Surround Datahome,Editions JMPlace Mar 2002, France. Japan Architect 44, Surround Datahome,Dec 2001 , Japan. 306090 (USA), in-Door,New York:Princeton Architectural Press,Oct 2001, USA. 222

Interiors, Bed Bath & Beyond (with Lewis/Tusrumaki/Lewis),Mar 2001, USA. Newspapers

NY Times, June 2009 The Daily Star/ International Herald Tribune, October 2002. The Daily Star/ International Herald Tribune, April 2002.

EXHIBITIONS Feb 2009

MoMA/PS1 Young Architects Program. Finalist.

Nov 2008

“Tourism: Spaces of Fiction”: Offshore Urbanism at The Design Museum Barcelona, Spain.

Mar 2008

“City of Expiration and Regeneration”: Offshore Urbanism at Shenzhen-Hong Kong Biennale.

Apr 2007

Re-Thinking Beirut Exhibition Milan, Italy.

Mar 2004

Squatville, Artists Space Solo Exhibition, NYC.

Sep 2003

Fill in the Blank, RISD School of Architecture, Bebb Hall.

May 2002

Young Architects Award, The Urban Center – NY.

Feb 2002

Odd Side of Broadway – Parsons School of Design, NYC.

Dec 2001

LEFTishtalkondiscourse – Storefront for Art & Architecture, NYC.

Oct 2001

Architecture + Water (video production for LTL) – Van Alen Institute, NYC.

Aug 2000

Refiled (Lewis-Tsurumaki-Lewis) Design Triennial, Cooper-Hewitt.

1997/98

Hilarious Beirut (Atelier Hapsitus) Bartlett School, London Technische Universität, Berlin Venice University, Venice.

May 1998

Simultaneous Project (Atelier Hapsitus) British Consulate, Beirut. Project Assistant.

May 1997

PCB137 (atelier Hapsitus) Manes Bridge, Prague. Project Architect.

Aug 1996

Korea National Museum (Atelier Hapsitus)Venice Biennale. Senior Designer.

July 1996

The National Library final project – Solidere, Lebanon.

223