PAD10 ARCHIBOOK '23 - ABRDIGED EDITION

Abridged Version 07.2023

Each project and its client are unique in the problems they pose and the programs they require. A rigorous understanding of the cultural surroundings, the programmatic pragmatics and the client’s agenda form the framework within which the project, or the strategy towards it, is generated.

The numerous projects surveyed within this portfolio share a singular resolution of the program, a sensibility towards technique, structure, form, and tactility – with prejudice towards none. The process towards an emerging architecture is revealed in the outcome, without any predilection on outset.

The interface with the client, the political makeup, the economic 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 that follow represent a survey drawing on past and present experiences and collaborations.

Naji Moujaes.

FOREWORD

PAD10 Architects + Designers, an internationally award-winning architecture+design firm, hosts creative minds in the fields of architecture and graphic design. Our cross-disciplinary practice emerges from a belief that spatial and visual communications operate in unison rather than in mutually exclusive spheres.

Our international setup – with PADx Paris, PAD7 Beirut and PAD10 Kuwait – is backed-up with team-centric BIM (Building Information Modelling) technology, and Cloud file sharing system, to ensure optimal collaboration among different team members. Our offices are professionally licensed architectural practices in Kuwait and Lebanon.

Our core belief is that each project and client are distinct in the challenges they pose, leading to unique interpretations and breeding inimitability to the project’s program and form. A rigorous understanding of the cultural surroundings, the political makeup, the economic infrastructure, the social superstructure, the programmatic pragmatics, and the client’s agenda form the framework within which the project is generated, with multiple iterations at work. Our underlying omnipresent agenda is for Architecture to operate beyond its bounds, as it is one with its social and urban surroundings; it shall act as an urban catalyst and social enabler.

The projects, from small scale logotypes to large scale masterplans, share a rigorous process and dialogue with the client, interpreted into a unique experience that holds prejudice towards no criteria, except that of expected formalism.

PAD10 engagement with its surroundings through participating in pro-bono design works, lectures, workshops, exhibitions, and publications tune its professional practice with a critical outlook.

PAD10 cultural insight on the milieu it operates in, is documented by the ‘the Kulture Files’, a pamphlet it curates and circulates.

Recently, PAD10 was awarded a Merit Award from the AIA (American Institute of Architects) ME Chapter for Built-Work Chalet-66, was the only MENA region design architect to qualify as one of the 10 finalists (out of 109 entries from 19 countries) in an anonymous international competition for KFAS New Headquarters in Kuwait, organized by Phase Eins – Berlin, and was shortlisted for North Design Union HQ in China. PAD10 is contributor to the Venice Biennale 2016 ‘Reporting from the Front’.

About the Founder

Mr. Moujaes is the recipient of ‘Architects of Healing’ Presidential Citation by the American Institute of Architects (AIA) Board of Directors, for his role in the design of the World Trade Center Memorial Museum in New York City, the Young Architects Forum Award, and the Emerging Voices by The Architectural League of New York.

Mr. Moujaes conducted a workshop, in collaboration with NCCAL (National Council for Culture Arts and Letters), Docomomo International, and Docomomo Kuwait on Kuwait Modern Heritage. He taught research and design studios on DisOrientalism, an architectural design studio with cultural focus on the Arab world at Cornell University, University of Pennsylvania, and Rensselaer (RPI) School of Architecture. He has served as an architectural/design critic at AUK (American University of Kuwait), Kuwait University, PennDesign, Columbia University, Parsons School of Design, Pratt Institute, Princeton, and RISD. He spoke at TEDxUniversityofBalamand, debated at Dar al Athar al Islamiyyah, and lectured at AAVS Kuwait, NCCAL, ACK, YourAOK, The Architectural League of New York, the CCA (Centre Canadien d’Architecture), Monterrey Symposium in Mexico, Milan Triennale in Italy, and the Nordic House in Reykjavik, Iceland. Mr. Moujaes has 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) Architecture/ Environmental Structures. He has exhibited at The Artists Space in New York City and participated in group exhibitions at The Drawing Center and MoMA in New York City.

His work has been widely published. Projects and interviews have been featured in ArchDaily, Archinect, Volume Magazine, Architectural Record, Metropolis Magazine, Praxis, The Architect’s Newspaper, The New York Times, L’Architecture d’Aujourd’hui, Japan Architect, Bidoun Magazine, Khaleejesque, Interior Design Magazine, and World Architecture.

His multidisciplinary early formation with Nadim Karam and Atelier Hapsitus included working on urban art installations at the National Museum in Beirut – Lebanon and Manes Bridge in Prague – Czech Republic, the graphic design for multiple art catalogues including Manes Bridge, Serpentine Gallery, and Voyage; a 400 page publication by Booth-Clibborn Editions.

He interned at Massimilian Fuksas Architetti in Rome – Italy and Rikken Yamamoto and Fieldshop in Yokohama – Japan.

Mr. Moujaes received his Bachelor’s degree in Architecture from the American University of Beirut (AUB) in 1996, winning an Areen Award for Excellence in Design, his Master’s degree in Architecture from the Southern California Institute for Architecture in 1999, and his EMBA from AUB in 2021.

ARCHITECTURE + LANDSCAPE + INTERIOR

An iconic message in an invisible structure: a monumental tragedy, manifested through the loss of a city skyline, is narrated while descending to bedrock. A void capturing the enormity of loss stands in the shadow of the resilient Slurry Wall. An urban pit is the aftermath of a city block erased and the will to rebuild and remember the event of September 11, 2001.

World Trade Center Plaza

WTC 5 WTC 6

Temporal Statelessness

MUSEUM OF CIVILIZATIONS FAILAKA ISLAND, KUWAIT AND MAQLAB ISLAND, OMAN EXHIBITED AT VENICE BIENNALE, KUWAIT NATIONAL PAVILION. VENICE, ITALY

TEMPORAL STATELESSNESS

The project, shared between two islands, spans the extremities of the Arabian Gulf. Imprinted planometrically in the grounds of Failaka, akin to its archeological ruins, and carved sectionally from the fjords around Maqlab, the project suspends its program from site specificity to claim temporal sitelessness; it operates across anomalies in pursuit of dismantling pre-set gulfs and unmasking otherness.

Programmatically, the project hosts a library and a museum to give two different readings of the region on and of the same with simultaneity and juxtaposition; part permanent, part temporal, part site specific, part siteless, the project becomes a counter-site to the mainland(s); “a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea... the greatest reserve of the imagination.”1

PAD 10

The Project, shared between two islands, spans the extremities of the Gulf. Imprinted planometrically in the grounds of Failaka, akin to its archeological ruins, and carved sectionally from the fjords around Maqlab, the Project suspends its program from site specificity to claim temporal sitelessness; it operates across anomalies in pursuit of dismantling preset gulfs and unmasking otherness.

The library’s main objective is to catalogue the customs and traditions of the people of the region, trespassing delineations of ‘nation states’. The colonially drawn borders erase many other iterations of geographic, cultural, ethnic, and linguistic classifications, leading to suppressions of multiple expressions that undermine divisive narratives. The library surfaces repressed desires, allowing all taxonomies to be vocalized in an open catalogue underground and a closed one archived remotely in the fjords.

The museum, curated and formed by a trip that never was, traverses programmatically across the extremities of the Gulf, between the islands of Failaka and Maqlab, spanning a history of more than 6,000 years. Failaka, being on the lookout inland at the tip of the Tigris and Euphrates, where Mesopotamia spanned back to 5,000BC, and Maqlab, being at the other tip of the bend, where the British Empire had a telegraphic repeater station until the mid 19th Century, tying its Empire from the Gulf to India. Enroute, it is criss-crossed laterally at two points to extend the museum’s internal program to external localized archeologies, rendering its placelessness site specific at times. The museum of civilizations spans from archeological findings to post-colonial readings.

Programmatically, the Project hosts a library and a museum to give two different readings of the region on and of the same with simultaneity and juxtaposition; part permanent part temporal, part site specific part siteless, the Project becomes a counter-site to the mainland(s); “a floating piece of space, a place without a place, that exists by itself, that is closed in on itself and at the same time is given over to the infinity of the sea... the greatest reserve of the imagination.”1

The library’s main objective is to catalogue the customs and traditions of the people of the region, trespassing delineations of ‘nation states’. The colonially drawn borders erase many other iterations of geographic, cultural, ethnic, and linguistic classifications, leading to suppressions of multiple expressions that undermine divisive narratives. The library surfaces repressed desires, allowing all taxonomies to be vocalized in an open catalogue underground and a closed one archived remotely in the fjords.

The museum, curated and formed by a trip that never was, traverses programmatically across the extremities of the Gulf, between the islands of Failaka and Maqlab, spanning a history of more than 6000 years. Failaka, being on the lookout inland at the tip of the Tigris and Euphrates, where Mesopotamia spanned back to 5000BC, and Maqlab, being at the other tip of the bend, where the British Empire had a telegraphic repeater station until mid 19th Century, tying its Empire from the Gulf to India. Enroute, it is criss-crossed laterally at two points to extend the museum’s internal program to external localized archeologies, rendering its placelessness site specific at times. The museum of civilizations spans from archeological findings to post-colonial readings.

1 Of Other Spaces: Utopias and Heterotopias, Michel Foucault.

Principal Architect: Naji Moujaes. Team: Alaa Sheet, Habib Bitar.

> Archeological ndings go back to the Bronze Age, Dilmun culture of the 3rd2-nd millennium BC. During the Bronze Age the Temple of the God Inzak, tutelary God of Dilmun, existed on Failaka as is mentioned through the Cuneiform and Proto-Aramaic inscriptions on vessel fragments, Dilmun stamp seals, and excavated slabs. Archeological excavations revealed buildings interpreted as a tower temple and palace.

> Named Ikarus by the Greeks, the Hellenistic settlement included a large Hellenistic fort and two Greek temples during the 3rd and 1st centuries BC.

> A Christian community ourished on Failaka from the 5th century until the 9th century. Excavations have revealed several farms, villages and two large churches dating from the 5th and 6th century.

Failaka Island

> Listed as one of the Important Bird and Biodiversity Areas (IBAs)

> It is considered to be rich in wildlife, with a great number of wild birds including eagles, parrots, white-eared bulbul, hoopoe, bee-eaters, laughing dove, and yellow wagtails.

> Interpreted as a monastic community, the Kharg complex is the largest single document of Christian archaeology in the Persian Gulf region; the large enclosure (96 x 85 m), complete with a library, refectory, monks’ cells, and church. Some believe it to be Nestorian, while others Monophysite.

> The Portuguese conqueror, Afonso de Albuquerque, captured the island in 1507 at which time it became a part of the Portuguese Empire. The Portuguese constructed a fortress on the island - the Fort of Our Lady of the Conception. In 1622 the island was captured from the Portuguese by a combined Anglo-Persian force.

> Center of Dilmun Kingdom. Archeological ndings indicate inhabitation since 5,000BC.

> Name referenced to Ashtaroot, the Goddess of war and love, as believed by the Babylonians, the Canaanites, and the Phoenicians.

> Home to Dilmun, Akkadian, Assyrians, and Persian civilizations.

Later, it was occupied by the Persian Empire and the Islamic Empire. More recently, it was colonized by the Portuguese where a fort stands witness to this period.

> The three Barbar Temples were located in what is now an archeological site in the village of Barbar, Bahrain. As part of the Dilmun civilization, the temples were built atop one another throughout a period of 1,000 years from 3,000BC to 2,000 BC. It is thought that the temples were constructed to worship the God Enki, the God of wisdom and freshwater, and his wife Nankhur Sak (Ninhursag). The temple contains two altars and a natural water spring.

> Diraz Temple dates back to the Dilmun era, circa 3rd millennium BC, based on the recovered artifacts.

> Fort of Bahrain, previously known as the Portugal Fort (Qal'at al Portugal). Archaeological excavations carried out since 1954 have unearthed antiquities from 2300 BC up to the 18th century, including Kassites, Portuguese and Persians. It was once the capital of the Dilmun civilization and was inscribed as a UNESCO World Heritage Site in 2005

> Home to Arabia's largest wildlife reserve, spanning over 87 km2 (34 sq miles) with thousands of large free-roaming animals and several million trees and plants.

> A bird sanctuary as well as a wildlife reserve.

Hormuz Island Maqlab Island

> On account of its strategic geopolitical situation, it has frequently been attacked by invaders including Ilamids (Elamites), Umayyads, Abbasids as well as the Portuguese, following which Alfonso de Albuquerque built a fortress.

> According to historical records, Qeshm Island became famous as a trade and navigation center, as trade vessels sailed from Qeshm Island to China, India and Africa.

> In 2006 it was registered by the Global Network of Geoparks (GGN) in Paris as a geopark due to its abundant natural resources and exceptional geology.

> In the 19th century, it was the location of a British repeater station used to boost telegraphic messages along the Arabian Gulf submarine cable, which was part of the London to Karachi telegraphic cable; it tied the British Empire from the Indian Ocean inland to the Arabian Peninsula.

Kharg Island

Qeshm Island

Faror Island

Sir bani Yas Island

Bahrain Island

NATIONAL BANK OF KUWAIT MUSEUM KUWAIT CITY, KUWAIT

The NBK museum, a 20m high ceiling ground floor pavilion, pivots a long subterranean 45 deep space. A curvaceous spiraling stair hinges the long and the tall spaces of the museum in one seamless experience, starting from the oculus atop. The entry “sun-dial” hall is shaped by the sun rays tracing its oculus’ rim on the different surfaces, with markers noting precision in craftsmanship and timelessness within a supposed time capsule.

The museum is part of the new NBK headquarters designed by Norman Foster. Its tethered facade above has its structural remnants below ground, with an echoing series of columns splitting the space visually in two. Pairing this pattern with the available exhibit display, the journey within the museum is curated along and across, balancing between material displays and audio-visual presentations. The ceiling’s geometry and the floor’s pattern recreate the guidelines underlying the tower’s to become one with it, without compromising the experience and associated materiality along.

ELDERLY HOME PORTUGAL

Our architectural aspiration is to make the elderly housing one with its community: a continuum, not an end!

Anchored along the terrain’s westside, adjacent to the main access road, and down-sloping east-wards, the building is formed by two ribbons inscribed within the jagged polygonal opposite site boundaries. The building winds itself around the site perimeter of the plot, to maximize outward views granted to the elderly bedrooms, to grant each and everyone of them a “room with a view. They are distributed on two levels: one above the landscape and another partly sunken in it, both privileging unobstructed views to the hilly mountains beyond.

In the center, the two volumes are pivoted on an open-air atrium, spiraling to connect all communal programs (chapel, library, sitting area, dining area, playroom, etc.), visually and physically, to multilevel outdoor gardens (communal roof garden, meditation entrance garden, and fruit-trees terraced garden), interlacing architecture to its surrounding nature, accessibly.

KFAS HEADQUARTERS SALMIYA, KUWAIT

PAD10 Architects’ finalist entry interlaces the two new buildings of Kuwait Foundation for the Advancement of Sciences (KFAS), its new headquarters (HQ) and Convention Center (CC) along Kuwait’s most prominent coastal stretch. With KFAS’s already existing Scientific Center, its promenade, and a newly proposed elevated pedestrian bridge, a ‘Science Mile’ connects all to wind its way down into the new public plaza shaded by CC’s cantilevered overhang.

KFAS HQ; an L-shaped building rises gradually from 3-storey to 8-storey building; its lowest is close to Pearl Marzouq (PM), an architectural beacon of Kuwait’s modern era, and highest along the seaside views to claim them. The building blends with the adjacent landscape by allowing in the green meadow to its northern side, adding seamlessly an approximate green area of 4,000sqm. With almost 90m additional depth of green area and 44m width in the project area, the building sets back from PM, maximizing its offices best sea-views with minimal direct sun along these sides, without blocking its neighbors’. The building feathers out to create terraces for planters and trellises on the west side, alongside a continuous ramp system (a vertical promenade) and shading overhangs on the east side the seafront, to shade the outdoor seating and promenade extension. The dropoff area is at its SW corner, facing the main road. The carved out vaulted liwan, further shaped by 3 cutout vaults, each of which leads to a distinct area, namely: the main building lobby, the wing of conference and meeting facilities, and the roof garden connected to the promenade’s landscape.

Aerial View with KFAS Convention Center in the Foreground

Conference Center: Seaside View From the Science Mile End

Conference Center: Main Approach from the Science Mile

Conference Center: Seaside Interior Public Areas

Conference Center: Science Mile-End Seaside Entrance

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 entrance 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 level with the park creating an outdoor extension seating.

• The National Archive steps up dramatically 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 final wing wedge lifts up, creating a built-in seating area within the lobby for indoor performances and ends with the parliamentary library, facing directly towards 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.

KUWAIT BLIND ASSOCIATION SPORTS COMPLEX MIDAN HAWALLY, KUWAIT

“Mute the vision; augment the senses”. This statement was the backbone of defining a sports facility for the visually impaired community. Centered on other senses; a ‘goalball’, (a hearing-based game), internal court and a ‘fragrance garden’, (a scent-based garden), external courtyard, a series of ramps mediate these with support programs along the perimeter. The rhythm of light and color, wrapping the building envelope, orient the users of the building, most of who can perceive shades and lights. The colors simulate the interplay between gender, level, and program to become indexical to the visually impaired of their whereabouts. The openness relates to the façade orientation allowing in more light on the ground level and gradually less on upper levels. The building is ADA compliant.

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 and forms a western edge alongside 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 comprises 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 twenty-meter wide office floorplate snakes its way through the colonnaded urban canopy along the southern façade, cascading gradually into the ground and on 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 floorplate, 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.

KHALEEJIA SQUARE KUWAIT CITY, KUWAIT

Located at the roadways network, where the green belt of the hermetic Shaheed Park begins and the high-rises of Kuwait downtown give way to the freeway networks, an alternative beginning is suggested with Khaleejia Square. A landscape, crisscrossed by multiple paths, connects the site with its city. Inscribed by concrete pathways, hexagonal pods of cobblestones and lawn intertwine to serve multiple users. In plan, the different elements and geometries on the site are influenced by Khaleejia Tower’s structural grid, which partly supports the tensile shades. Sectionally, the trees and tensile shade posts gradually cascade down from the building all the way down to the pedestrian sidewalk, resonating with the office tower and its commercial plinth. Along the outer edge, bounded by vehicular traffic, a water cascade’s white noise mitigates further this setting by visually separating the users from the passing-by cars.

POST-ARAB SPRING SQUARE KUWAIT CITY, KUWAIT

An urban action calls to connect the city to the sea and its institutions to its people. We call for submerging the Arabian Gulf Road below ground level and erasing the urban infrastructures all around, with the exception of civic and governmental institutions. A public park with lush landscape surrounds and connects national and architectural beacons that will become platforms of constructive expressions and aspirations. The National Museum, the National Assembly, the National Library, Dar Al-Athar al-Islamiyyah, among other ‘pavilions’ in the landscape, proliferate public performance areas within the landscape or that open to it, all at a walking or cycling distance from one another. These areas are connected to other recreational areas, stretching along a continuous mile of coastline encounter between the city and the sea.

Opportunistically, in this setting, urbanism has the capability to channel all aspirations of constructive nature through the pillars of a nation represented through legislative and cultural institutions that refocus the identity of Kuwait and play a proactive role in shaping its future. This will be the first civic place of national scale.

We are calling for a pre-emptive Arab Spring Stretch that ties all these institutions together, capable of coercing and absorbing Arab/street anger into platforms of varied expressions; be they social, economic, or cultural. This strip becomes the Hyde Park of Kuwait with all its uncensored rhetoric and ranting, to have them channeled into debates and performances inside otherwise distant and disparate institutions. These institutions are facets of the same crystal and only through their interaction can there be change fit for the youth and the cultivated.

A meandering series of paths cut through the park connecting the different edifices to the open lawn, shaded with giant trees, playgrounds, amphitheaters, reflecting pools, water fountains, cascading gardens, and fishing piers. A mound, in between the National Assembly and the National Museum, creates a raised vantage point towards the sea and embeds a multi-storey parking connected to the First Ring Road. With the widening of the ring roads to the Seventh so far, the heart of the city is getting de-congested by reversing urbanism within the First Ring Road and rendering the area a car-free green zone.

TEMPORARY VILLAGE AT THE PHASE A2 MARINA SABAH AL AHMAD SEA CITY, KUWAIT

Sabah Al-Ahmad Sea City (SAASC) is an engineering marvel where land and sea are interlaced into 7km meandering lagoons. Within this development, and as a precursor to the 170,000sqm A2 Marina masterplan due for completion in 10 years’ time, the owner sought proposals for a makeshift project of a 27,000sqm ‘Temporary Village’. To simulate an inherent quality of optimal sea frontage of the A2 marina and to stimulate the relatively deep makeshift site, the proposal was to excavate the site into a tub and let water inland, coiling a 1,000 meter boardwalk (equal to the A2 marina waterfront) to link the seafront program in one continuous loop to the garden front, thus maintaining a waterside condition throughout the project and deep within the site. The architectural programs and activities are pinned to the boardwalk loop in the form of barges, piers, terraces and pavilions. The temporary village manages with less than 5% of built up area to simulate 100% of the ‘waterfront’ views and activities.

The project strikes a balance between the ideals of the collective plunge in the public bath movement of the early 1900s and the exclusive getaway of urban jetsetters and yachtsmen seeking refuge from the crowded city.

JUMEIRAH CULTURAL CENTER DUBAI, UAE

Water is the material of the new Jumeirah Cultural Center. It gives 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, instead being 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.

AL-MONTAZAH RESORT SHARM EL-SHEIKH, EGYPT

The Sharm Al-Sheikh Resort ‘Hotels and Housing Development’ is planned on three adjoining plots. The project includes a high-end 5-star resort hotel and spa with associated independent individual apartments, chalets and villas within the sea-front site.

With the low FAR and the gentle slope of the site, PAD10 developed two strategies:

1) Mat plan with staggered chalets in the ‘park’ to ensure uninterrupted sea views for each one

2) Dense clusters of chalets and commercial buildings to free a large land swath along the site with water bodies carved deep within the site.

AIRPORT

Pool Bar

Steam Sauna Tennis Court

Outdoor Pool Kids Pool

Couple’s Treatment/Massage Room

Health Club Spa

Kids Program/Club

Bookshop

Restaurant

Café Swimming Pool

Bar

Jaz Belvedere Resort

Fitness Centre/Gym

Shopping Arcade Bank

Salon and Barber shop

Supermarket Bar

OUR SITE

Tiran Hotel Baron Hotel

Savoy Hotel

Diving Centre Beach

Restaurant cum Bar

Four Seasons Resort

Maritim Jolie Ville Royal Peninsula Hotel & Resort Maritim Jolie Ville Golf & Resort

Restaurant

ners Kiroseiz Resort

Sharm Dreams Resort

Hyatt Hotel

Grand Rotana Resort & Spa

Domina

Sheraton Hotel

Marriot Sharm El Sheikh Red Sea Resort

Novotel

Stella Di Mare Beach Hotel & Spa

AL-MONTAZAH RESORT, SHARM EL-SHEIKH, EGYPT

AKBUK PENINSULA BODRUM, TURKEY

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

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 a corniche promenade along the Arabian Gulf and its tranquil beaches, Al-Khobar is becoming ever more leisure-driven with a tourist population that is certain 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 ‘chain-hotel’ typology of anonymous qualities and generic feel.

2- Propose different degrees of public spaces that act as a 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

SOUK ATRIUM VIEW

PEARL MARZOUQ COMPLEX RAS SALMIYA, KUWAIT

Pearl Marzouq retooling by PAD10 comprised architecture, landscaping, interior, along with branding, signage and wayfinding for the 40,000 sqm project, on an 11,000 sqm plot of land. Where Pearl Marzouq once encroached on public property with its pool directly touching the sea, it now re-integrates with its surroundings by publicizing its once private courtyard. The central courtyard, ‘al-howsh’, was raised to meet the artificial ground of the perimeter plinth and be at one with the commercial pilotis floor, thus doubling its frontage. Raising the ground was mostly achieved by compacting demolished debris from the opening of façades and other demolition operations on the site. The new central courtyard design holds remnants from what was already there; the pool pit was filled with soil for large trees, concrete troughs syncopated the building structural bays, the perimeter of the pool structure, and the inset concrete pods. A series of hyperbolic HDPE tensile membranes span between buildings, and are supported by them, to shade the courtyard from Kuwait’s sun.

A C-shaped residential block flanks a central glass pavilion to the south, along the main road. The pavilion is reprogrammed as a main reception area, thus reorienting and refocusing the once disparate access points to the different blocks into a main one through the central courtyard.

With 128 apartments of varied typologies; duplex units and multiple size penthouse units; the nine-storey residential buildings are sectionally composed of four duplex apartments topped by a penthouse floor. With a skip-stop elevator, the building section and façade reflect a richness in staggering the various internal conditions.

The external sandstone façades are overlaid with expanded aluminum mesh to hold the aging sandstone in place, without concealment.

The apartments’ reconfiguration and façade treatment reclaimed the breath-taking views all around. In the apartments, ‘bay-windows’ in the bedrooms were achieved by V-shaped balconies and relocating the closet spaces away from the façade.

ADAPTABLE HOUSING BEIRUT, LEBANON

Adaptable Housing is a collective typology meant to help transit city dwellers from tenants to owners. The initial unit module area (sqm) is gauged to the median family structure and mortgage available for working couple with minimum income. The versatility of the structure allows inhabitants to dynamically expand vertically or horizontally based on the growth in their financial ability and space requirements. While they have the liberty to buy and sell, under no circumstance they shall be subsidized as only by owning in it will they feel obligation towards it. Additionally, these projects are not meant to be a transitory phase for ‘low income’ residents but rather a mix of different incomes by having the ability to grow around a structure. The Adaptable Housing enables belonging initially and growing from there on.

STAIR-HOUSING BERLIN, GERMANY

Stair-housing (Treppenhaus) couples individual expression with collective living. The oblique individual façades mask the external stairs that zap, skip or stop, among domestic parts to weave multiscale living; from concise studios to extended deluxe living. There is “liveliness” to the architectural proposal in its ability to adapt to citydwellers’ changing needs and capabilities, on the inside, without compromising their individual aspiration to express themselves on the outside. The multi-scale living enables the city dweller to “own” in the city and then “grow” in it… and in times of covid may shrink, split, or merge… within it, without the need to part ways with it, as such architectural-adaptability sustains urban neighborliness!

BAHCESEHIR RESIDENTIAL PROJECT BAHCESEHIR, ISTANBUL - TURKEY

The project is Miesian in posture with the twin buildings’ orthogonal layouts occupying the highest edge of the site, and maintaining the visual setback needed for unobstructed views. The project is Corbusieian in urbanity, maximizing vertical exploitation to create buildings in the park, simultaneously making way for mat plan terraced residences inset in the landscape. The project is contemporary in adaptability, devising a kit-of-parts façade design approach that parametrically adapts to typological and environmental demands as an inherent part of the architectural outcome. The façade consists of modulated infill fixed, pivoted, bifold, or sliding glass and wood panels inset within its modulated framework.

BARAKA SEASIDE RESIDENCE BNEIDER, KUWAIT

Approached by the client as an archetype for the family chalet, we addressed the other structures as non-architectural, submerging the first within the landscape to be at one with it, and the second with a concrete perimeter fence and a large span subterranean double-T structure. The barn is elevated from the ground to maximize its views, yet without blocking the same to rear structures on the relatively narrow and deep site. The elevated barn structure spans the service core on one side and the elevated landscape on the other, to provide a see-through and an underpass to connect the landscape to the sandy beach and poolside. The ‘guesthouse’ underneath the landscape is connected to it at multiple levels. A library snakes between the two, otherwise autonomous structures, to trespass in between ‘secret doors’, meant as shortcuts.

CLIENT BRIEF - BARN AS ARCHETYPE

REORIENTATION MAXIMIZING SEAVIEWS

BARN ELEVATED FROM LANDSCAPE

GUEST HOUSE INSET IN LANDSCAPE

DIWANIYA FENCING LANDSCAPE

HAYAT CHALETS NUWAISEEB, KUWAIT

Narrow land strips, stretching between the Arabian sea sand beach and a palms’ oasis, host 5 linear chalets. An arid landscape interlaces in between with shaded alleyways and get-together cortiles. The singular chalets, with multiple programmatic demands, are fragmented and spread all along the site to further integrate the singular programs with the surrounding pristine landscape, broken down to intimate inner courts, alleyways, verandas, etc. The in-out and up-down relationships enrich an experience of indulging with the sea, even with a deep site.

While the program is nestled within the landscape on the ground floor, belvederes, atop it, overlook the canopied roofscapes and the northlight oculi, all the way out to the offing.

SQAURE HOUSE MASAYEL, KUWAIT

From a Sol LeWitt figure ground emanates a private residence for an art teacher. The monochromatic abstract art shades the internal courtyards, stepping up at multi-levels, with multiple permutations throughout the day. The street facade detaches from the house’s, with an urban high window and a wedged entry opening, to preserve the intimacy of the courtyard in-between.

SHEAR HOUSE AL RAWDA, KUWAIT

Multi-family residence, on a corner plot, provides 2 separate entrances; one for eht parent and another for the children’s apartments above. A corner shared stair leads to the common “diwniya” giving onto a sunken outdoor garden. Indoor living areas are open to outdoor living on multiple levels; sunken courtyards, side & front gardens, and a roof garden all vertically connected with the sectional shear of terraces on multiple levels. The ground and first floors are the parents’ quarters. The second floor is divided among the two kids, while shared services and amenities are in the basement and on the roof. Maximizing the built-up areas above freed much of the ground floor garden. This pushed to cantilever the upper volume, serving as a shading canopy for the front garden underneath. The corner plot, with the centrally carved volume, maximizes light penetration to the interior spaces.

3-FAB CHALETS LAQLOUQ, LEBANON

3-fab chalets” are located in Laqlouq, Lebanon. At an elevation of 1,780m, the site is close by a skiing resort and along a hiking trail; the small scale chalets are an outpost to nature. The originally sloped site has been split to two plateaus; the upper opening to the kids’ bedrooms and the lower to the living areas. The lower plateau is elevated from the road to maintain privacy and enjoy an uninterrupted scenery of the mountains chain beyond. The living quarters are tucked in the stone masonry construction that fences and terraces the site, with three cantilevered structures housing the sleeping quarters above. With their E-W orientation, the asymmetry of the pitched roof, a regulatory requirement, maximizes the slope and area for the southern side to host the solar panels atop.The project services make use of the abundance of sun and rain to sustain operating with minimal carbon footprint.

ART COLLECTOR’S RESIDENCE AL SIDDIQ, KUWAIT

The residence is a series of indoor and outdoor spaces that are staggered planometrically and sectionally. Mutually scaled, the intimate courtyards reciprocate the reading of the prescribed plan to become at times outdoor enclaves of extended or external improvisations. All-through cut-out shafts provide light to the basement store, which doubles as an art gallery on special occasions.

SARAB CHALET SABAH AL-AHMAD SEA CITY - KUWAIT

A bachelor’s weekend getaway seaside chalet which is meant to host friends and executives alike. The entrance is raised and punched within the otherwise blank street-side façade. Concealed and staggered orchid trees reveal the entry area gradually while approaching the parking in order to create an understatement on the outside. This is contrasted by the fully glazed seaside front surrounded and framed by a lush green landscape. The vista to the man-made winding lagoons is mediated by a raised landscape connected with the ground and first floor levels.

The outdoor lawn/pool area, raised from a sand beach to reclaim privacy, connects all along the glazed façade to the living/dining areas on the ground floor and the lounge through a side stair stepping atop the cut stone wall, connecting to the first floor terrace. The copper cladding on the ribbed concrete screen wall, the wood formed concrete, the cut stone double height wall stepping towards the landscape, the perforated terracotta sliding panels, and the solid teak screens present a wide palette of tactility to indulge the guests and grant warmth to a space that is otherwise brave in the large spans and surfaces that are structurally daring. The diwaniya and the masterplan jut out respectively on the ground floor and first floor. This L-shaped plan configuration engages in the framing of the landscape and further indulges both visually and physically, with its surroundings.

VERTICAL DIWANIYA AL SHAMIYA, KUWAIT

A vertical diwaniya façade is wrapped gradually, from ground entry level to garden roof top, revealing and concealing the surrounding to the inside programs. The corner plot and the shifting slabs are complemented with the oblique continuous walls and wedged glass openings to sequence the extended program of the vertical diwaniya-cum-guesthouse. The homogeneous white expression and shifting volumes reveals a contrasting play of shades and shadows all through the day.

CROSBY APARTMENT NEW YORK CITY, USA

The design addresses an inherent domestic space challenge, that of marrying a 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.

OFFICE NOOK READING AREA

FORSYTH RESIDENCE NEW YORK CITY, USA

In Manhattan’s highly dense setting, the luxury of segregating private/public or service/served space becomes questionable. The typical consolidated services in autonomous rooms (daughter’s bedroom, guest bathroom) are fragmented down to the singular functions (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

MASTER BATH TUB IN BEDROOM

MASTER TOILET

VALEO SECURITY SYSTEMS SÃO PAULO, BRAZIL

Valeo Security Systems is an international automotive parts manufacturer. Located outside 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 inexpensive, Valeo opted to buy land which had less value yet had good exposure and access to the highway system and to 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 regular and 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 heightens 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.

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 local 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 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 single-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 down a shortcut connection between management and production, revealing the bottom-up internal management policy.

AL NAFISI TOWER RESIDENCE KUWAIT CITY, KUWAIT

Al Nafisi tower, located in the heart of Kuwait city, enjoys views to the Arabian Gulf to its north, Naif Palace to its southeast, Al Muthanna Complex to its west, and Al Salhia Complex to its southwest; these views may be privileged at times to higher floors. Photovoltaic fins clad the parking floors, generating required power to run the building’s common services. Adjacent to tinted glass curtain wall façade lies the black stained concrete of the structural building core. Floating outdoor cutout-atria host viewing decks and decentralized services. With Kuwait’s changing BUA, the tower has been designed at 520%, with 18 floors divided as such: 2 subterranean parking floors, 3 commercial from ground up, topped by 5 parking and 8 office floors, expandable to 920% (24 floors).

AJIAL REAL ESTATE HEAD OFFICE HAWALLY, KUWAIT

The offices of a leading real estate company efficiently occupy the 1,350 sqm surface area, without compromising quality; a datum line separates between the playful ceiling and the dense plan. A primary corridor, around the building core, leads to the different departments that are internally connected with a secondary double-loaded one that mediates between managerial offices, on the perimeter-wall with views, and their supporting staff on the inside. The different ceiling heights between the inside and peripheral offices, coupled with the semi-transparent walls, allow filtering natural light in without compromising privacy.

AQARAT HEADQUARTERS KUWAIT CITY, KUWAIT

The interior fit out of Aqarat Headquarters, an area of 2,200sqm, comprises various departments, with open workspaces and enclosed offices, shared programs (conference rooms) and supporting facilities. With a donut-shaped floor plan, hollowed by an internalized atrium, we devised a perimeter corridor that accesses and overlooks all departments’ open workstations. From there, the departments’ managers enclosed offices are accessed. Lined up along the outer perimeter wall with daylight flooding in, the enclosed office walls are partial in height, with clerestory windows atop the built-in cabinets, to let light in.

GULF REAL ESTATE COMPANY HEAD OFFICE SHARQ, KUWAIT CITY, KUWAIT

The boomerang shape of the floor plan is intertwined with two-tiered client interface. Comprising of a reception area at the front and a secretary area in the middle that caters to the executive team, a series of offices with alcove open spaces, mediate the public with the staff.

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

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 with movable furniture that rest on floor tracks, which 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.

KAZMA CLUB DEVELOPMENT PROJECT ADAILIYA, KUWAIT

Located in an upscale neighborhood, on the SW corner of Kazma Sports Club (KSC), the building operates as an urban catalyst. With a large parking area along its west façade, the thin deep fins shield the western sun from penetrating the building during daytime, and pivot to become a screen for an impromptu drive-in cinema at night.

The roof garden is connected with the escalators, running along the façade, to tie the parking space and Abraj Park to the NW side in an impromptu off-hours early morning farmers market. Programmatically, the anchor programs are laid vertically along the street façade to filter the access-in ascending escalators to secondary ones on the way down and out.

SAMOVAR CARPETS & ANTIQUES, CITYWALK, DUBAI UAE

The contemporary carpets collection is hung for display along the 4m high sliding panels. The long storefront of the showroom flattens and runs across the structural bays of the building it fits in. Divided into three zones by large columns, the sliding panels sandwich and slide out of them completely or partially to choreograph the space from an exhibition open space to an exclusive private presentation quasienclosed one.

SAMOVAR CARPETS & ANTIQUES THE PEARL, QATAR

Samovar Carpets & Antiques steps inside 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 further customer displays. Ceiling mounted tracks are used for displaying carpets resulting in all walls being concealed by different carpet patterns, except for the impossibility of exploiting the spiral stair surface. This architectural moment and visual refuge centrally pivots the upper and lower display walls into quadrants and facilitates the curation of the client’s collection of modern, traditional, transitional, and guest designers.

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, enhancing the rather low visibility into the store. The store reinterprets the store front by duplicating it into two façades, 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 its collection of shirts and ties, the store is transformed into an articulation that defines the torso as its design guideline— 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 and so forth.

The proportionally tall new storefront has three 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. Thus, the large entry storefront becomes a generous gesture delivered by a very small store, within a very big city.

STOREFRONT

INTERMIX STORES BAL-HARBOR/ FIFTH AVENUE/ MADISON SQUARE/SOHO, 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 a variety of fabrics and 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.

BAL HARBOUR, FL. INTERIOR VIEWS

FIFTH AVENUE, NY. INTERIOR VIEWS

FIFTH AVENUE, NY. FLOOR PLAN

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 approaching 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.

NIGHT VIEW

CROSS SECTION

FRONT ELEVATION

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, the 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.

HYBRID GRID CITY RIYADH, KSA

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 that 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 and 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

OFFSHORE URBANISM, COASTLINE, LEBANON

SQUATVILLE EXHIBITION ARTISTS SPACE NEW YORK CITY, USA

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 degree zero 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 superurbanity), between public and private.

SQUATVILLE

SQUATVILLE

ABSOLUTE SUBURBIA

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 measured by a 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’s structure is shaped by the overlapping geometry of the airplane trajectories from Dubai to the rest of the world (using 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 experiencecapitalism 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.

SOUTHEAST DOMESTIC FLIGHTS INT’LNORTHEAST FLIGHTS

FURNITURE DESIGN

DAWRAT TABLE KUWAIT CITY - KUWAIT

Atypical individual ‘school’ desks, with hinged desktops and motivational colloquial scribbled imprints, can be fitted with one another to form conference tables for collective brainstorming. Multiple pebble-shaped atypical conference tables are fitted within the space to transform it from a tutoring classroom to a debating conference room.

MUY.BRARY WALL SALMIYA - KUWAIT

A long library wall-unit snakes its way up the stairs of a duplex apartment, connecting living to sleeping, public to private, and engaging the visitor midway at a split-level entry vestibule. The unit transforms from a deep kneehole desk along the north light window to a shallow low bookshelf unit in the bedrooms area. White lacquered MDF vertical silhouettes, derived from Eadweard Muybridge’s ‘Nude Descending Stairs’ interlock with clear acrylic shelves. The fluid interplay of drawers, cabinets, and shelves throughout their 25 meter run, comes to a pause here and there to feature objects in shelves and cabinets with linear and planar LED backlit colored lenses.

FLATTENED

EXHIBITIONS

PAD TO THE POWER 10 - EXHIBITION STAND KUWAIT CITY

PAD to the power 10 examines four projects of different scales: 1:1, 1:100, 1:1000, and 100×100. While specific factors, criteria, and glossary emerge at specific scales, others recede and are rendered inconsequential when doing the switch.

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.

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.

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

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 to the Bronx. It took one hundred 200ASA 35 mm rolls in seven trips from 7 am to 12 noon, throughout the fall of 2000-01, to transform the miles of streets 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.

CREDENTIALS

PAD x France PAD 10 Kuwait PAD 7 Lebanon

Paris Kuwait City Sharq Beirut Mar Mikhayel

208 Rue St Maur Khalid Ibn Al Waleed Street Nicolas Turk Street

75010 Paris Al Tujjar Building 3rd Floor Il Risveglio Bldg 7th Floor

T +33 7 76 03 29 20 T +965 222 85 900 T +961 1 446 772

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Curriculum vitae

NAJI MOUJAES

French, Canadian, and Lebanese National

EDUCATION

Jun-23

2019-2021 EMBA American University of Beirut Beirut, LEBANON

1997-1999 M’Arch II Southern California Institute of Architecture (SCI-Arc) Lugano, SWITZERLAND Los Angeles CA, USA

1991-1996 B’Arch American University of Beirut Beirut, LEBANON AREEN AWARD FOR EXCELLENCE IN DESIGN

PROFESSIONAL

2009-Present PAD10 Architects + Designers Kuwait City, KUWAIT Beirut, LEBANON Paris, FRANCE

Founding Principal Architect

A/L Portugal Elderly Home Competition PORTUGAL

A/E TSC Yarmouk Commercial Center Plot 2 Architecture Design Ongoing Kuwait City, KUWAIT

A/L Kuwait Finance House Headquarters (Façade & Landscape)

I/E NBK Museum Interior Design in New Headquarters

I/E

INTERNSHIPS

1 of 5 pages

LECTURES

2021 Adaptable Housing // Estudio Beirute, ISCTE, PFA Beirut, LEBANON Lisbon, PORTUGAL

2019 Promoting Research Workshop at Kuwait University Kuwait City, KUWAIT

2017 Architectural Association (AA) visiting school

2017 TEDxUniversityOfBalamand Kuwait City, KUWAIT

2016 “the Boom” in Kuwait, debate at Dar Al Athar Al Islamiyya Beirut, LEBANON

2016 Lecture at Benchmark 16 Forum at Al-Shaheed Park Kuwait City, KUWAIT

2015 Lecture on Retooling Pearl Marzouq at National Council for Culture Arts and Letters Kuwait City, KUWAIT

2015 Workshop on Kuwait’s Modern Heritage, organized by Docomomo International and Docomomo Kuwait Kuwait City, KUWAIT

2015 PAD to the power 10, Tafaseel Exhibition by AIAS Kuwait City, KUWAIT

2015 Lecture at 2nd Annual Marketing Forum at Australian College of Kuwait Kuwait City, KUWAIT

2013 Lecture at YourAOK on Architectural Research and Diagramming Kuwait City, KUWAIT

2008 “24 Hour Program on the Concept of Time” at the Guggenheim Museum New York City, USA

2008 Harvard Design School, part of the MENA conference Boston, USA

2008 “Thinking Metropolis” Temporary Spaces, Places & Mobile Structures Copenhagen, DENMARK

2008 Public Spaces Along Waterfront Cities (The North Sea Area, Lisbon, Venice, and the Lebanese coastline) Milan, ITALY

2007 “Re-Thinking Beirut”, with Stefano Boeri at La Triennale Milan, ITALY

2006 International Symposium of Architecture Monterey, MEXICO

2006 Leftishism summer lecture series, Columbia University GSAPP New York City, USA

2005 Leftishist lecture Oslo, NORWAY

2004 Squatville, Artists Space New York City, USA

2003 Recent Work Lecture, Alvar Aalto’s Nordic House Reykjavik, ICELAND

2002 “Three Houses”, Young Architects Forum lecture, The Architectural League of New York, Urban Center New York City, USA

WINNER OF THE YOUNG ARCHITECT FORUM AWARD (ARCHITECTURAL LEAGUE, NY)

2002 Post (war) Cards, Centre Canadien d’Architecture Montreal, CANADA

2002 “Threesome”, Philadelphia University School of Architecture Philadelphia, USA

1996 “Reconstruction of War-stricken Cities” Aarhus, DENMARK

EXHIBITIONS

2022 Tafaseel Exhibition Time and Motion Kuwait, KUWAIT

2016 “Between East and West: a Gulf”, Kuwait Pavilion at the 2016 Venice Biennale Reporting from the Front Venice, ITALY

2015 PAD to the power 10, Tafaseel Exhibition by AIAS Kuwait City, KUWAIT

2009 MoMA/PS1 Young Architects Program. Finalist New York City, USA

2008 “Tourism: Spaces of Fiction”: Offshore Urbanism at The Design Museum Barcelona, Spain Barcelona, SPAIN

2008 “City of Expiration and Regeneration” Offshore Urbanism at Shenzhen-Hong Kong Biennale Shenzen, CHINA Hong Kong, CHINA

2007 Re-Thinking Beirut Exhibition Milan, Italy Milan, ITALY

2004 Squatville, Artists Space Solo Exhibition, NYC New York City, USA

2003 Fill in the Blank, RISD School of Architecture, Bebb Hall Rhode Island, USA

2002 Young Architects Forum Award, The Architectural League of New York New York City, USA

2002 Odd Side of Broadway – Parsons School of Design, NYC New York City, USA

2001 LEFTishtalkondiscourse – Storefront for Art & Architecture, NYC New York City, USA

2001 Architecture + Water (video production for LTL) – Van Alen Institute, NYC New York City, USA

2000 Refiled (Lewis-Tsurumaki-Lewis) Design Triennial, Cooper-Hewitt New York City, USA

1997-8 Hilarious Beirut (Atelier Hapsitus) Bartlett School, London London, UK

1997-8 Technische Universität, Berlin Berlin, GERMANY

1997-8 Venice University, Venice Venice, ITALY

1998 Simultaneous Project (Atelier Hapsitus) British Consulate, Beirut. Project Assistant Beirut, LEBANON

1997 PCB137 (atelier Hapsitus) Manes Bridge, Prague. Project Architect Prague, CZECH REPUBLIC

1996 Korea National Museum (Atelier Hapsitus) Venice Biennale. Senior Designer Seoul, SOUTH KOREA

1996 The National Library final project – Solidere, Lebanon Beirut, LEBANON

PUBLICATIONS

Books Between East and West: A Gulf, Actar Publishers, April 2019. Participant ‘Essays, Arguments & Interviews on Modern Architecture Kuwait’, edited by Ricardo Camacho, Sara Saragoca, and Roberto Fabbri; published in 2017 by niggli. Participant 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

PCB137 (atelier Hapsitus) Manes Bridge, Prague. Graphic Designer

Magazines Khaleejesque, Issue 4. Interview: Architect Naji Moujaes, Founder of Eco-Friendly Design Firm PAD10

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

Newspapers

ACADEMIC

NY Times, June 2009

The Daily Star/ International Herald Tribune, October 2002

The Daily Star/ International Herald Tribune, April 2002

L’Orient Le Jour/ Digital Days at the CCF: Meetings of a New Kind, July 1998

2017-2009 Studio critic for final projects at Kuwait University Kuwait City, KUWAIT

2008 Studio critic for PennDesignThird-Year Graduate Advanced Architectural Design Studio Philadelphia, USA

2008 Studio critic for Rensselaer (RPI) School of Architecture Rensselear NY, USA

2007 Guest critic for final reviews, REX, Yale University New Haven CT, USA

Beirut, LEBANON

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 Studio critic and seminar instructor for Cornell Architecture School visiting faculty spring 2006 Ithaca NY, USA

2006 Jury member for NYFA (New York Foundation for the Arts) Architecture/ Environmental Structures New York City, USA

2006 Jury member for Young Architects Forum at the Architectural League, New York New York City, USA

2006 Guest Critic for Mid & Final reviews, Peter Cook, Columbia GSAPP New York City, USA

2006 Guest Critic for M’Arch final projects, Cornell University Ithaca NY, USA

2005 Guest Critic for Douglas Gaultier, Parsons New York City, USA

2003 Guest Critic for Mark Tsurumak (Lewis.Tsurumaki.Lewis), Parsons New York City, USA

2002 Guest Critic for Eric Bunge (nArchitects), Parsons New York City, USA

HONORS AND AWARDS

2022 Architects in Residence – 100 Architects for 100 Houses, Royal Commission for AlUla. Shortlisted/Awarded.

2020 AIA Merit Award for Baraka Chalet

2019 Certificate of Honor North Design Union HQ, China

2019 Shortlisted Phase 2 - KFAS International Competition; Phase-Eins Berlin

2013 AIA Architecture and Interior Honor Awards for WTC Memorial Museum

2012 AIA Presidential Citation Sep. 11 Memorial Museum

2010 Emerging Voices by the Architectural League of New York

2007 AIA New York State Design Award for Valeo SP

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

2003 AIA New York Chapter Design Award for HRIC

2002 Winner of the Young Architect Forum award (Architectural League, NY)

2001 Shinkenchiku Japan Architect (JA) honorable mention

1996 Areen Award for Excellence in Design

PROFESSIONAL AFFILIATIONS

1997 Registered Architect at the Order of Engineers and Architects Lebanon #20678

2006 Associate AIA # 38661515 NCARB # 98244

2011 Registered Architect at the Kuwait Society of Engineers #21767

2022 Registered at the Order of Architects, France #090451

PORTFOLIO

Portfolio & Website https://linktr.ee/pad10

Publishers Architects Designers Consulting Engineers

Jaber Al Mubarak Street

Sharq, Kuwait

Naji Moujaes

PAD10 Architects

AIR-4982

By email only

8 August 2022

Dea Naji Moujaes

CONFIDENTIAL: ARCHITECTS IN RESIDENCE – 100 ARCHITECTS FOR 100 HOUSES

On behalf of he Royal Commission for AlUla (RCU), would like o thank your team for taking part n he Architects n Residence – 100 Architects for 100 Houses International Design Competition.

We remain grateful for your team’s great commitment during the competition and for your contribution towards creating a constellation of dwellings that will enable guests to experience AlUla’s exceptional cultural and natural wonders. The depth of thought and the hard work was clearly evident in all of the submissions.

We also thank you for your patience since you made your submission n March. The competition jury met over three days n April o review all submissions; the client has been undertaking a formal ratification process of he result n the months that followed.

DECISION

I am delighted to confirm that, after careful consideration during the jury meeting, your team has been selected as one of the 100 winners.

Congratulations!

CONFIDENTIALITY

You must keep all information relating o the competition, including your submission, confidential as per the terms of your NDA with RCU and the Declaration Form submitted during stage two. n due course, he client may make a formal announcement regarding he competition, including he 100 winners.

Any future use of competition material for publicity purposes is subject to permission granted n writing from the client; such requests will only be considered after any formal announcement

.

Thursday, August 2, 2018

KFAS New Headquarters in Kuwait

Result of Stage 1

Dear Mr. Naji Georges Moujaes

Recently you submitted your design proposal for Stage 1 of the international design competition “KFAS New Headquarters in Kuwait”.

On July 31st and August 1st 2018, the jury meeting for the selection of the Stage 2 competitors took place in Berlin, Germany Of the 43 submissions received by deadline from Stage 1 competitors 10 teams have been selected by the jury to move forward in Stage 2 of the competition.

On behalf of KFAS we are pleased to inform you that you project was selected by the jury and you are invited to move forward in Stage 2 We kindly ask you to confirm and bindingly declare your intent to move forward in Stage 2 of the competition latest by Thursday, August 9th, 2018 by e-mail to kfas@phase1.de or fax to +49 303121000

We will provide you further details regarding the upcoming event Participants’ Colloquium Stage 2, competition materials and overall schedule shortly after receiving your confirmation. Please follow the upcoming schedule of the competition from below:

Issue of Stage 2 competition materials August 16, 2018

Online forum Stage 2 August 16 to 30, 2018

Participants' colloquium Stage 2 in Kuwait September 4, 2018

Submission of entries Stage 2 November 1, 2018

Submission of models Stage 2 November 8, 2018

We look forward to working with you in Stage 2 of this exciting competition Should you have any queries, you can contact us anytime at kfas@phase1.de - the project team includes Elif Demiroglu and Ronny Kutter.

Best regards, Benjamin

Hossbach Director Architect BDA

Engineering Consultants

Contractors

International Consultants

Cultural Pamphlet

Kulture Files

Cultural Events

Calendar

Social Media

Copy Writing Websites

Company Profiles

Magazines

Architecture

Urban Design

Landscaping

Local Consultants

Horticulturalist

Exhibitions & Interiors

Contractors

Furniture Design

Interior Design

Exhibition Design

Advertising Agencies

Printing Press

Product Design

Press Design

Reused Matter

Print Matter

Graphic Design

Logo Design

Web Design

Web Development

Social Media

Outdoor Media

Print Media

Branding

Corporate Identity

Advertising

Marketing Plan

PAD10 Specialization Spheres and Past Collaborations

Structure and Work Process Diagram

PAD10 IT SETUP

PAD10 Architects + Designers corporate network is functioning using cloud technology for ease of access and file sharing among team members in Kuwait, Paris and Beirut offices. Function Fox cloud system is used to track jobs’ scheduling and timekeeping. For communication, PAD10 uses Office 365 for Emails. With this, all data are on High Availability also backed up constantly with 99.9% up time.

Employees at PAD10 have the latest Apple Mac Systems, Dell XPS systems and Dell Business systems. The office is equipped with a 3D state of the art Z-Corp printer for rapid prototyping and 3D model printing, a plotter and a Xerox Color MFP (Multi-Function Printer); all connected to the staff network. The telephone system runs on CISCO IP telephony with DID (Direct Inward Dialing) features. The entire network is protected by FortiGate Firewall, (front end) and all the PC systems are installed with Symantec End Point Protection suite. The core network runs on 1000 Mbps switches. The network is maintained by a specialized IT team and troubleshooting is mainly carried out via remote assistance over the Internet/ VPN/ physical visits.

PAD10 has licensed and certified users of ArchiCAD, a leading BIM (Building Information Modeling) solution, using BIMcloud with real-time collaboration between project team members

Additionally, PAD10 has licensed AutoCAD, MS Office, and Adobe CC software.

PRINCIPAL ARCHITECT

Intermed. Architect

3D Vislzr/ CAD DRFT.

Design Architect

Design Architect

Interior Architect

Site Engineer

Interior Architect

MEP Engineer

CREATIVE DIRECTOR

Art Director

Graphic Designer

Graphic Designer

PROJECT MANAGEMENT

Project Coordinator

Document Controller

Web Designer

Web Developer

3D INTEGRATION

STUDIO MANAGER

Assist. Manager

Accountant

Model Maker

Janitor

Messenger

PAD10 integrates 3D Printing technology (Z Printer Z350) with its BIM (Building Information Modeling) design environment and 3D-simulated walkthrough technology using HTC Vive VR System and Twinmotion, Lumion Technologies. This helps to verify further the quality of designs by bringing them closer to reality with scaled models and mockups.

ENVIRONMENTALLY FRIENDLY

To walk the talk, PAD10’s site supervision processes and document controlling are done in a paper-free process to reduce waste and encourage among all collaborators similar environmentally friendly practices, utilizing digital signatures and online markup’s.

Staff Chart

CREDITS

NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM

NEW YORK CITY, USA

Credits: Davis Brody Bond, New York-USA. Concept Design

Architect: Naji Moujaes

MUSEUM OF CIVILIZATIONS

FAILAKA ISLAND, KUWAIT AND MAQLAB ISLAND, OMAN

Credits: Partner-in-Charge: Naji Moujaes. Team: Raymund Yadao

NATIONAL BANK OF KUWAIT (NBK) MUSEUM

KUWAIT CITY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Michael Gebrine, Nirvana Kobeissi, Mohammad Nizamuddin, Raymund Yadao

ELDERLY HOME

PORTUGAL

Credits: Partner-in-Charge: Naji Moujaes. Team: Celine Faour, Rawan Hodaifa, Raymund Yadao

KFAS HEADQUARTERS

SALMIYA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Shadi Abou

Samra, Raymund Yadao, Rim Youssef

CZECH NATIONAL LIBRARY

PRAGUE, THE CZECH REPUBLIC

Credits: Partners-in-Charge: Ziad Jamaleddine, Naji Moujaes.

Team: George Boueri, Fumio Hirakawa, Salim al Kadi, Makram el Kadi

KUWAIT BLIND ASSOCIATION SPORTS COMPLEX

MIDAN HAWALLY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Rohan

Almeida, Alia Al-Azzeh, Samantha Rodrigues, Johnny Salman, Raymund Yadao

Architect of Record/ Engineering Services: SSHIC

THE CRIMINAL INVESTIGATION HEADQUARTERS

AL-SURRA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Ziad

Jamaleddine, Makram el Kadi, Karie Titus

KHALEEJIA SQUARE

KUWAIT CITY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Peter Cleven, Mohammed Nizamuddin, Raymund Yadao

POST-ARAB SPRING SQUARE

KUWAIT CITY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Grace

Abou Jaoudeh, Rohan Almeida, Hawra Esmaiel, Samer Mohammad, Raymund Yadao

TEMPORARY VILLAGE AT THE PHASE A2 MARINA

SABAH AL AHMAD SEA CITY

Credits: Partner-in-Charge: Naji Moujaes. Team: Rohan Almeida, Alia Al-Azzeh, Hessa Al Bader, Johnny Salman, Raymund Yadao

JUMEIRAH CULTURAL CENTER

DUBAI, UAE

Credits: Partner-in-Charge: Naji Moujaes. Team: Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi

COURNICH HOTEL

RIYADH, KSA

Credits: Partner-in-Charge: Naji Moujaes. Team: Aline Koundakjian, Raymund Yadao

AL-MONTAZAH RESORT

SHARM EL-SHEIKH, EGYPT

Credits: Partner-in-Charge: Naji Moujaes. Team: Tarek Aherraki, Anne-Marie Bterrany, Kholoud Salman, Raymund Yadao, Hassan Zaman

AKBUK PENINSULA

BODRUM, TURKEY

Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes In collaboration with Steven Holl Architects

EDAFAH SERVICED APARTMENTS

KHOBAR, KSA

Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

PEARL MARZOUQ COMPLEX

RAS SALMIYA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Rohan Almeida, Alia Al-Azzeh, Alin Bablanian, Peter Cleven, Mohammed Nizamuddin, Johnny Salman, Kholoud Salman, Raymund Yadao

Photography by: Sylvette Blaimont

ADAPTABLE HOUSING

BEIRUT, LEBANON

Credits: Partner-in-Charge: Naji Moujaes. Team: Michael Gebrine, Kholoud Salman

In collaboration with: GTA

STAIR-HOUSING BERLIN, GERMANY

Credits: Partner-in-Charge: Naji Moujaes. Team: Leonardo Al Abboud, Mohammad Arnaout, Celine Faour, Michael Gebrine, Raymund Yadao

BAHCESEHIR RESIDENTIAL PROJECT

BAHCESEHIR, TURKEY

Credits: Partner-in-Charge: Naji Moujaes. Team: Rohan Almeida, Alia Al-Azzeh, Alin Bablanian, Peter Cleven, Mohammed Nizamuddin, Johnny Salman, Kholoud Salman, Raymund Yadao

BARAKA SEASIDE RESIDENCE

BNEIDER, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Peter Cleven, Mohammad Nizamuddin

QUARTET VILLAS

ABDULLAH AL SALEM DISTRICT, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Emile Abou Hamdan, Shadi Abou Samra, Rana Fany, Michael Gebrine, Mohammed Nizamuddin, Ali Rahhal, Michel Tabet, Raymund Yadao

HAYAT CHALETS

NUWASEEB, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Michael Gebrine, Nirvana Kobeissi, Mohammed Nizamuddin, Raymund Yadao

SQUARE HOUSE

MASAYEL, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Emile Abou Hamdan, Rana Fany, Ghena Mnaimne, Mohammed Nizamuddin, Michel Tabet, Raymund Yadao

SHEAR HOUSE

AL RAWDA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Leonardo Al Abboud, Celine Faour, Michael Gebrine, Mohammed Nizamuddin, Raymund Yadao

3-FAB CHALETS

LAQLOUQ, LEBANON

Credits: Partner-in-Charge: Naji Moujaes. Team: Emile Abou Hamdan, Shadi Abou Samra, Michael Gebrine, Mohammed Nizamuddin, Ashraf Shaaban, Raymund Yadao

ART COLLECTOR’S RESIDENCE

AL SIDDIQ, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Samer Mohammad, Raymund Yadao

SARAB CHALET

SEA CITY MARINA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Kholoud Salman, Raymund Yadao

SEASIDE QUARTET

SEA CITY MARINA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Kholoud Salman, Raymund Yadao

WEEKEND POOL HOUSE

SALWA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Grace Abou Jaoudeh, Raymund Yadao

VERTICAL DIWANIYA

AL SHAMIYA, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Johnny Salman, Raymund Yadao

CROSBY APARTMENT

NEW YORK CITY, USA

Credits: Partner-in-Charge: Naji Moujaes. Team: Fumio

Hirakawa, Ziad Jamaleddine, Makram el Kadi, Karie Titus

Photography by: Jody Kivort

FORSYTH RESIDENCE

NEW YORK CITY, USA

Credits: Partner-in-Charge: Naji Moujaes. Team: Fumio

Hirakawa, Ziad Jamaleddine, Makram el Kadi, Karie Titus

Photography by: Jody Kivort

VALEO SECURITY SYSTEMS

SÃO PAULO, BRAZIL

Credits: Davis Brody Bond, New York-USA. Design Architect: Naji Moujaes

FOUR FILMS PRINTING FACTORY

SABHAN, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Ziad

Jamaleddine, Makram el Kadi, Karie Titus

AL NAFISI TOWER

KUWAIT CITY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Shadi Abou

Samra, Ghena Mnaimneh, Mohammad Nizamuddin, Raneem Qaddoura, Ashraf Shaaban, Amina al Thuwaini, Marah Walid, Raymund Yadao, Rim Youssef

AJIAL REAL ESTATE HEAD OFFICE

HAWALLY, KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Leonardo

Abboud, Celine Faour, Michael Gebrine, Nirvana Kobeissi, Mohammad Nizamuddin, Raymund Yadao

Photography by: Mohammad Taqi Ashkanani

AQARAT HEADQUARTERS

KUWAIT CITY, KUWAIT

Partner-in-Charge: Naji Moujaes. Team: Alia Al-Azzeh, Peter Cleven, Mohammad Nizamuddin, Johnny Salman, Raymund Yadao

GULF REAL ESTATE COMPANY HEAD OFFICE

SHARQ, KUWAIT CITY

Partner-in-Charge: Naji Moujaes. Team: Kholoud Salman, Raymund Yadao

HUMAN RIGHTS IN CHINA (HRIC)

NEW YORK CITY, USA

Credits: Davis Brody Bond, New York-USA. Design Architect: Naji Moujaes

KAZMA CLUB DEVELOPMENT PROJECT

ADAILIYA, KUWAIT

Partner-in-Charge: Naji Moujaes. Team: Mohammad Nizamuddin, Raymund Yadao

Z-COMMERCE PARK

SALMIYA, KUWAIT

Partner-in-Charge: Naji Moujaes. Team: Michael Gebrine, Nirvana Kobeissi, Raymund Yadao

SAMOVAR CARPETS & ANTIQUES

CITYWALK, DUBAI

Credits: Naji Moujaes. Team: Mohammad Nizamuddin, Raymund Yadao

SAMOVAR CARPETS & ANTIQUES

THE PEARL, QATAR

Credits: Naji Moujaes. Team: Hassan Zaman

PEACOCKS 20

NEW YORK CITY, USA

Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

INTERMIX STORES

BAL-HARBOR/ FIFTH AVENUE/ MADISON SQUARE/SOHO, USA

Credits: Partner-in-Charge: 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

HYBRID GRID CITY

RIYADH, KSA

Credits: George Boueri, Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

OFFSHORE URBANISM

COASTLINE, LEBANON

Credits: Partner-in-Charge: Naji Moujaes. 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

DAWRAT TABLE

DAWRAT KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Raymund Yadao

MUY.BRARY WALL

SALMIYA - KUWAIT

Credits: Partner-in-Charge: Naji Moujaes. Team: Kawther al Saffar, Raymund Yadao

PAD TO THE POWER 10 EXHIBITION STAND

KUWAIT CITY

Credits: Partner-in-Charge: Naji Moujaes. Team: Raymund Yadao

ANATOMY OF PLEASURE, PS1-MOMA NEW YORK, USA

Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

YOUNG ARCHITECTS FORUM: MATERIAL PROCESS 2002 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