PAD10 ARCHIBOOK '23 - UNABRIDGED EDITION by PAD10

Version 06.2023

TABLE OF CONTENTS ARCHITECTURE + LANDSCAPE + INTERIOR 8

CULTURAL

CIVIC

100

PLACE MAKING

136

HOSPITALITY + LEISURE

148

MIXED-USE + RESIDENTIAL

204

PRIVATE RESIDENCES

338

INDUSTRIAL

350

OFFICE BUILDINGS + FITOUT

382

RETAIL BUILDINGS + FITOUT

434 URBAN 470 FURNITURE 484 EXHIBITIONS 496

PAD 10 Kuwait Kuwait City Sharq Khaled Ibn Al Walid Str Al Tujjar Bldg, 1F T +965 222 85 900 F +965 222 85 901

PAD 7 Lebanon Beirut Mar Mikhayel Nicolas Turk Street Il Risveglio Bldg, 7th Floor T +961 1 446 772

CREDENTIALS

PAD x France Paris 75012 14 Rue Colonnes Du Trone T

+33 7 76 03 29 20

E info@pad10.com www.pad10.com

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 4

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. 5

ARCHITE 6

ECTURE + LANDSCAPE + INTERIOR 7

911 MEMORIAL MUSEUM, NEW YORK, USA

NATIONAL SEPTEMBER 11 MEMORIAL MUSEUM NEW YORK CITY, USA

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.

WTC 7

WTC 6

WTC 1

WTC 3

PRE-SEPTEMBER 11 WTC SITE PLAN

WTC 5

World Trade Center Plaza

WTC 2

WTC 4

911 MEMORIAL MUSEUM, NEW YORK, USA

CULTURAL

THE OVERLOOK Towards the ‘Overlook’ the Ribbon widens, and its flanking side walls give way to an open 70’ drop wedge space known as the ‘Foundation Hall’. Turning in on itself, the Ribbon spans the south side of the north tower footprint with its shimmering aluminum foam façade, weightlessly acknowledging the foundations’ footprints underneath. A stair coupled to Survivors’ Staircase descends to bedrock at ‘Memorial Hall’ - a pivotal space between the North and South Towers ‘Footprint Galleries’, inscribed in the foundations of the Twin Towers.

911 MEMORIAL MUSEUM, NEW YORK, USA

12 MEMORIAL PLAZA LVL + 312’

BEDROCK LVL + 242’

911 Memorial Museum

NORTH TOWER FOOTPRINT

CULTURAL

SLURRY WALL

911 MEMORIAL MUSEUM, NEW YORK, USA

CULTURAL

911 MEMORIAL MUSEUM, NEW YORK, USA

Temporal Statelessness VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

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

PAD 10 Principal Architect: Naji Moujaes. Team: Alaa Sheet, Habib Bitar.

TEMPORAL STATELESSNESS

The Project, shared The project, shared between two islands, spans the extremities of the Arabian Gulf. between two islands, spans the theand Gulf. Imprinted planometrically in Imprinted planometrically in the grounds of Failaka, akin to extremities its archeological of ruins, grounds of Failaka, akin to its archeological ruins, carved sectionally from the fjords around Maqlab, the projectthe suspends its program from site specificity to claim temporal sitelessness; it operates across pursuit of andanomalies carvedinsectionally from the fjords around Maqlab, dismantling pre-set gulfs and unmasking otherness. the Project suspends its program from site specificiProgrammatically, the project hosts a library and a museum totygive different readings sitelessness; it operates across to two claim temporal of the region on and of the same with simultaneity and juxtaposition; part in permanent, anomalies pursuit of dismantling preset gulfs and part temporal, part site specific, part siteless, the project becomes a counter-site to the unmasking otherness. 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 Programmatically, the Project hosts a library and a reserve of the imagination.”1 museum to give two different readings of the region on The library’s main objective is to catalogue the customs and traditions of the people of and of the same with simultaneity and juxtaposition; the region, trespassing delineations of ‘nation states’. The colonially drawn borders erase part permanent part temporal, part site specific part many other iterations of geographic, cultural, ethnic, and linguistic classifications, leading siteless, theThe Project to suppressions of multiple expressions that undermine divisive narratives. library becomes a counter-site to the mainland(s); “a floating piece of space, a place without surfaces repressed desires, allowing all taxonomies to be vocalized in an open catalogue underground and a closed one archived remotely in the fjords.a place, that exists by itself, that is closed in on itself at the same time is given over to the infinity of the The museum, curated and formed by a trip that never was,and traverses programmatically sea... the greatest across the extremities of the Gulf, between the islands of Failaka and Maqlab, spanning areserve of the imagination.”1 history of more than 6,000 years. Failaka, being on the lookoutThe inlandlibrary’s at the tip of the Tigrisobjective is to catalogue the cusmain and Euphrates, where Mesopotamia spanned back to 5,000BC, and Maqlab, being at the of the people of the region, trestoms and traditions other tip of the bend, where the British Empire had a telegraphic repeater delineations station until the of ‘nation states’. The colonially passing mid 19th Century, tying its Empire from the Gulf to India. Enroute, it is criss-crossed drawn borderslaterally erase many other iterations of geoat two points to extend the museum’s internal program to external localized archeologies, graphic, cultural, ethnic, and linguistic classifications, rendering its placelessness site specific at times. The museum of civilizations spans from leading to suppressions of multiple expressions that archeological findings to post-colonial readings. 1

Of Other Spaces: Utopias and Heterotopias, Michel Foucault.

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.

URBAN

VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

CULTURAL

VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

IAN

Failaka Island C EEK

GR IVIL IZA N

TIO

LM DI IO

LIZ

> Archeological findings 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 flourished 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.

> Center of Dilmun Kingdom. Archeological findings 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.

Tarout Island

PO / B RT RIT UG ISH UE CO SE LO NI

ISM

Bahrain Island > 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.

CULTURAL

Kharg 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 Hormuz Island combined Anglo-Persian force.

Faror Island

TU NA

Qeshm 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.

L NIA TER LO EN CO C ST CH PO SEAR RE

Maqlab Island

> 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.

Sir bani Yas Island

VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

Program

CULTURAL

VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

CULTURAL

VENICE BIENNALE, KUWAIT NATIONAL PAVILION / BETWEEN NORTH AND SOUTH, OTHERNESS

800 m

700 m

600 m

500 m

400 m

300 m

200 m

100 m

Eiffel Tower (Paris)

Empire State (New York)

Petronas Towers (Kuala Lumpur)

PROJECT

Seawise Giant

Sears Tower (Chicago)

Taipei 101 (Taipei)

Burj Dubai (Dubai)

CULTURAL

The project emulates in size that of Seawise Giant, later Happy Giant, Jahre Viking, Knock Nevis, Oppama, and finally Mont; she was the longest ship ever built, associated all through her life with the Gulf region. She was incapable of navigating the English Channel, the Suez Canal or the Panama Canal. She was sunk during the Iran–Iraq War, but was later salvaged and restored to service. She was last used as a floating storage and offloading unit (FSO) moored off the coast of Qatar in the Persian Gulf at the Al Shaheen Oil Field. With a length overall of 458.45 m (1,504.1 ft) and a draft of 24.611 m (80.74 ft), Seawise Giant was damaged and sunk during the 1980–1988 Iran–Iraq War by an Iraqi Air Force attack while anchored off Larak Island on 14 May 1988 and carrying Iranian crude oil. The ship was struck by parachute bombs. Fires ignited aboard the ship and, as they blazed out of control, she sank in the shallow waters off the coast of Larak Island, Iran. She was declared a total loss and was laid up. Shortly after the Iran-Iraq war ended, Norman International bought the wreck and raised and repaired her. These repairs were done at a shipyard in Singapore after towing her from the Arabian Gulf. She re-entered service in October 1991 as Happy Giant. In 1991, she was bought and renamed Jahre Viking. From 1991 to 2004, she flew the Norwegian flag. In 2004, she was purchased and renamed Knock Nevis. She was converted into a permanently moored storage tanker in the Qatar Al Shaheen oil field in the Arabian Gulf. In 2009, she was sold to Indian ship-breakers, and renamed Mont for her final journey in December 2009. Her 36-ton anchor was saved and sent to the Hong Kong Maritime Museum for exhibition.

NATIONAL BANK OF KUWAIT MUSEUM, KUWAIT CITY, KUWAIT

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.

CULTURAL

NATIONAL BANK OF KUWAIT MUSEUM, KUWAIT CITY, KUWAIT

CULTURAL

NATIONAL BANK OF KUWAIT MUSEUM, KUWAIT CITY, KUWAIT

CULTURAL

NATIONAL BANK OF KUWAIT MUSEUM, KUWAIT CITY, KUWAIT

CULTURAL

ELDERLY HOME, PORTUGAL

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.

CIVIC

INSCRIBED MASSING

COMMUNAL OPEN-AIR ATRIUM CUTOUT

ROOMS WITH A VIEW PERIPHERY VEHICULAR ACCESS

PRIM ARY

ROAD

COMMUNITY ROOF ACCESS

PLOT L IMIT

SCALE 1:750

SITE PLAN 1

3 3

2 2

1 1

1.PARKING /SECURITY 2.LOBBY 3.ADMINISTRATION 4.LIBRARY 5.CHAPEL 6.MEDITATION GARDEN 35. FREIGHT ELEVATOR

T F

ENTRANCE LEVEL @ +167.00

LOWER LEVEL @ +163.00

MAIN ROAD APPROACH

8.SINGLE BEDROOM 9.TWIN BEDROOM 22.SUNKEN GARDEN 23.DINING /GAME ROOM 24.FRUIT TREES GARDEN 25.TECHNICAL AREAS 26.CENTRAL KITCHEN 27.COLD STORAGE 28.DRY STORAGE 29.BATHROOMS 30.SERVICE ROOM 31.HYDROTHERAPY ROOM 32.PHYSIOTHERAPY ROOM 33.SMALL GYM 34.REFUSE ROOM 35. FREIGHT ELEVATOR 36. 3 SEPARATE DUMBWAITERS (FOOD, TRASH, LAUNDRY)

T F

7.GATHERING ROOM 8.SINGLE BEDROOM 9.TWIN BEDROOM 10.CHAPEL 11.THERAPY ROOM 12.NURSING ROOM 13.DINING AREA 14.PREP KITCHEN 15.LAUNDRY/ CLEANING 16.WC 17.TERRACE 18.REFUSE ROOM 36. 3 SEPARATE DUMBWAITERS (FOOD, TRASH, LAUNDRY)

19.COMMUNITY GARDEN 20.KIDS PLAYGROUND 21.ELDERLY ACCESS PAVILION

ROOF LEVEL @ +175.40

LOWER ROAD APPROAC

SCALE 1:500 2

UPPER LEVEL @ +171.00

ELDERLY HOME, PORTUGAL

CIVIC

KFAS HEADQUARTERS, SALMIYA, KUWAIT

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 46

CIVIC

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Master Plan Strategy

CIVIC

1 8

7 4

3 2 6 5

Road Types

Car direction Electric bus loop

Pedestrian sidewalks

Car direction

1 8

7 4

3 2

2 6

Road Types

Pedestrian sidewalks

Car direction

Road Types

Pedestrian sidewalks Bike lanes

KFAS HEADQUARTERS, SALMIYA, KUWAIT

ILE

RAS AL-ARD CLUB

THE

s rd wa CK o T TS

NC SCIE

TSCK PROMENADE

D ing

d Loa

t ran tau Res trance En

RAS MARINA

ock ess Acc P

e anc Entr n i Ma Kiosks

ilion l Pav ouq a r t n r Ce rl Ma z Pea

Palms Weave Promenade Performance Stage Bicycle Lanes

RAS SCIENCE PARK

NAVAL FORCES BASE

Science Installations Flying Stage

Y RIT TA HO KP AUT E IN AR M

Urban Connectors

Sandboxes

THE SCIE NCE MILE

EPA

Reflecting Pool Seats

Tensile Shading Sculpture Walk PAAF P

BU KP S T TA ER M IN A

KFAS CC

SALMIYA SPORTS CLUB Area Plan 50

KIS

S-47

CIVIC

Aerial View with KFAS Headquarters in the Foreground 51

KFAS HEADQUARTERS, SALMIYA, KUWAIT

CIVIC

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Headquarters: Main Entrance KFAS-STI Tri-Portals

CIVIC

KFAS HEADQUARTERS, SALMIYA, KUWAIT

S-01

F.1.2

161 160 159 162

158 157

E-03

156 155

163

154 153 164 152 151 150

165

149 148 147 166 146 145

273

-2.15

144

167

143

274

F.1.4

272

F.1.3

251

F.2.3 230

262 252 263

241 229 253

231

264 242

228

254 232 265

243

227

168 255

233

266

244

F.2.3

169

226 256

234

267 245

275 257

170

235 268

246

180

258

236 247

276

269 259

E-02

237

181 270

248

225

319 260

182

238 249

224

320

271 307

239

183

261 321

250 223 308

240

184

S-02

322 222 309

185

323

221

186 310 324 220 311

187 325

219 312

326

218 313

327

E-04

217 188

314 328 216

298 315

189

289 329

299

190

215 316

290

330

300

-2.15 214

F.1.4

317

291

191 331

301

213

318

192

292 284

S-02

302

212 277

293 303

F.1.4

285

211

294 278 210

304

286

F.1.2

295

279

305 209

193 296

280

306 208

194 297

F.1.9

281 287

-2.15

282

F.1.4

288 283 207 195 196 197

206 198 199 205 200 201

204

S-01

202

E-01

F.2.3

203

Basement 2 Scale 1:500

F.1.2

S-01 F.1.7

E-03

15 14 13 12

11 10 9 17 8 7 6

F.1.1

F.1.9

+3.15

3 2 1

F.1.4

F.2.3 F.1.8 103

71 93

F.2.3 82 70

104 94

105 83 69

95 73 84

106

F.3.12

F.2.3 107

85 67

108

F.3.12

86 98 76 87

109

F.1.10

77 88

110

E-02

100 111 89

101 79

F.2.3

F.1.5

112

65 80

102 91 21

S-02 22

62 23

F.1.5/F.1.6 F.2.3 24

E-04

F.2.3 134

125 135

+3.15

F.1.6

29 126 136

F.1.4

30 127

137

128 120

S-02

138 32

55 113

129 139 121

F.1.3

130 114 140

122

131

115

141 35

52 132

116

142 36

51 133 117

F.1.4 123 118

+3.15 124 119 50 37 38 39

49 40 41 48

42 43

44 45 46

Headquarters: Utilization / Circulation Concept

Basement 1 Scale 1:500

F.2.3

S-01

E-01

CIVIC

Headquarters: Ground Floor Plan and Floor Plan of the External Spaces

Headquarters: Second Floor Plan Offices/Start-ups with Garden Access

S-01

E-03

C.11.1 C.6.4 C.7.5

C.6.4

7.3

C.7.5 C.7.4

.4 D.1

F.2.1

F.2.3

F.2.

C.7.

F.2.

F.2.2

C.7.5

F.4.

F.4.2

2 5 +30.1

C.11.3

C.11.2

.1 D.1

F.1. F.2.

.5 D.1

F.2.3

F.1.7

C.7.5

F.2.

.1 D.2

.3 D.2

C.7.4

F.1.4

D.2.9 11 D.2.

1.2 C.1

F.3.1 D.2.10

D.2.

C.10.3 10

E-02

D.2.

C.7.5

F.1.

C.7.4

/1.3 .6 D.1.2 D.1

C.8.1

.6 D.1

.3 .2/1 D.1

C.11.3

E-02

.4 D.2

C.10.2

C.10.1

C.7.4

C.7.

C.7.2

C.11.2

.4 D.1

S-02

C.7.1 C.7.4

S-02

C.7.2

.2 D.2

C.5.

5 +15.1

E-04

C.5.

x 152 347 33R x 33G

C.5.1

5 +30.1

S-02

C.5.

S-02

C.7.4 C.7.5 C.11.3

B.1.

S-01

B.1.

E-01

5 +15.1

3 F.

B.1.

First Floor Plan

2 F.2.

Fourth Floor Scale 1:500

1.7

S-01

B.1.

E-01

First Floor Scale 1:500 S-01 S-01

E-03 E-03

C.8.1

C.11.1 C.6.4 C.7.5

C.6.4 C.7.5 C.7.4

C.11.2

C.8.1 C.11.3 C.11.2

F.2.3

F.2.1

C.7.4

C.7.4 F.2.3

F.2.1

C.7.2

C.7.5

F.1.4

C.7.2

F.2.2

C.7.2

C.11.2 C.7.4 C.11.3

C.11.3 F.2.3

F.1.7

D.2.9

D.2.10

F.3.1

.1 C.6

C.6.1

.1 C.6

C.7.1

.1 C.6

.1 C.6 .1 C.6 .1 .1 C.6 C.6 .1 .1 C.6 C.6

.1 C.6

C.7.5

C.6.2

5 +35.1

C.6.2 E-04

C.6.2

E-04

C.6.2

C.5.1

.1 C.6

C.6.2

S-02

C.7.4

.2 .1 C.6 C.6

.1 C.6

S-02

.1 C.6

C.7.5

.1 C.6

C.7.2

.2 C.6

.1 C.6

F.1.7 C.7.4

C.7.4

.1 C.6

F.3.1 C.11.2

E-02

.6.1 .1 C C.6

.1 C.6

.2 C.6

E-02

.1 C.6

D.2.10 D.2.9

C.7.4

.1 C.6

C.7.5

F.2.3

C.7.5

C.7.4

5 +25.1

5 +35.1

C.7.4

F.4.2

C.6.2

C.6.2 .1 C.5

S-02

C.5.1

5 +25.1

C.11.2 C.11.3 C.7.4 F.1.7

C.8.1

E-01

S-01

F.2.3

Third Floor Plan:

S-01

E-01

C.7.1

Fifth Floor Scale 1:500

Third Floor

Scale 1:500Staff Office Areas Cascading

KFAS HEADQUARTERS, SALMIYA, KUWAIT

S-01

S-01 E-03

E-03

C.2.1 C.2.3

C.3.1 C.3.1

C.2.4

C.3.2

C.2.2 F.1.4

C.3.2

5 +45.1

C.11.2

C.4.1 F.1.5

C.4.1

5 +45.1

C.4.1 C.4.1

C.2.5 5 +40.1

F.2.3

F.2.1

F.2.3

C.7.5

F.2.1

F.1.4 F.2.2 F.2.2

C.7.4

F.4.2

C.7.4

F.4.2

C.4.1

C.11.3

C.4.1 F.2.3

F.2.3

C.4.1

F.3.1 D.2.10 D.2.9

C.4.1

C.4.1 F.1.7

C.4.1

C.7.4

E-02

C.4.1 C.4.1

5 +40.1

C.7.4 C.4.1

E-02

C.7.5

C.11.2

C.4.1 C.7.5 C.4.1

C.4.1

S-02

C.4.1

E-04

S-02

Transversal Section

S-01

Sixth Floor Scale 1:500

S-01

E-01

Seventh Floor Scale 1:500

Longitudinal Section

CIVIC

Headquarters: Interior Cascading Spaces

KFAS HEADQUARTERS, SALMIYA, KUWAIT

East Elevation

West Elevation

CIVIC

South Elevation

North Elevation

Headquarters: Elevations and Sections

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Conference Center: Seaside View From the Science Mile End

CIVIC

Conference Center: Main Approach from the Science Mile

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Conference Center: Seaside Interior Public Areas

CIVIC

Conference Center: Science Mile-End Seaside Entrance

KFAS HEADQUARTERS, SALMIYA, KUWAIT

CIVIC

Conference Center: Ground Floor Plan and Floor Plan of the External Spaces

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Conference Center: First Floor Plan and Floor Plan of the External Spaces

CIVIC

Second Floor Plan

Third Floor Plan

KFAS HEADQUARTERS, SALMIYA, KUWAIT

CIVIC

Conference Center: Utilization / Circulation Concept 73

54.15 m

52.15 m

46.67 m

43.97 m

41.27 m

36.27 m

31.97 m

28.17 m

24.97 m

21.17 m

17.97 m

14.62 m

10.82 m

7.15 m

3.82 m

-2.49 m

-4.83 m

-8.33 m

Section S02 1:500

Transversal Section

SITE LIMIT

KFAS HEADQUARTERS, SALMIYA, KUWAIT

SITE LIMIT

CIVIC

54.15 m 52.15 m

46.67 m 43.97 m 41.27 m

36.27 m 31.97 m 28.17 m 24.97 m 21.17 m 17.97 m 14.62 m 10.82 m 7.15 m

7.15 m

3.82 m

-2.49 m

-4.83 m

-8.33 m

Section S01 1:200

Longitudinal Section

Conference Center: Elevations and Sections

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Southeast Elevation

SITE LIMIT

CIVIC

54.27 m

54.2

52.27 m

52.2

46.67 m

46.6

43.97 m

43.9

41.27 m

41.2

36.27 m

36.2

31.97 m

31.9

28.17 m

28.1

24.97 m

24.9

21.17 m

21.1

17.97 m

17.9

14.17 m

14.1

10.82 m

10.8

7.15 m

7.15

evation E01-1:500Elevation E01-1:500 West Elevation West Elevation

Northwest Elevation

Conference Center: Elevations and Sections

KFAS HEADQUARTERS, SALMIYA, KUWAIT

Northeast Elevation

CIVIC

Southwest Elevation

Conference Center: Elevations and Sections

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

CIVIC

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.

10 1 8

1: Restaurant 2: Parliament library

11 4 7

3: Open stacks 4: Open stacks 5: Admin. 6: Universal stacks 7: Lobby 8: Reading areas 9: Open stacks

10: Amphitheater 11: Open stacks

CROSS SECTION

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

book drifter librarian reader

SOUTH SIDE VIEW

12 4 5

4 3 2 3 1 5 protagonists

South elevation

sectional couplings

1. drifter : reader

East elevation

2. reader : book

3. reader : librarian

North elevation

4. librarian : book

West elevation

5. book : drifter

CIVIC

DRIFTERS’ PATHWAYS FROM THE LIBRARY ROOFSCAPE TO THE VLTAVA RIVERSCAPE

Roof

+ 17.5OM

+ 13.5OM

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

+ 9.5OM

+ 5.5OM

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

Ground floor

INTERIOR PROMENADE

CIRCULATION DIAGRAMS

CZECH NATIONAL LIBRARY, PRAGUE, THE CZECH REPUBLIC

84 MAIN ENTRANCE VIEW

CIVIC

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

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

1 2

PLAN LVL. +24 M

MEZZANINE PLAN LVL. +12.0 M

8 7

12 9

PLAN LVL. +13.5

PLAN LVL. +17.5

19 16

UP UP

PLAN LVL. -5.2 M،...

PLAN LVL. -7.5 M

TYPICAL PLAN LVL. -10.6 M, -12.1 M

PLAN LVL. -16.0 M

FLOOR PLANS

KUWAIT BLIND ASSOCIATION, KUWAIT

Concept I 3.2 Render

14 COMPLEX KUWAIT BLIND ASSOCIATION SPORTS 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.

KUWAIT BLIND ASSOCIATION I SPORT COMPLEX 86

SUBMISSION PHASE: CONCEPT DESIGN DATE: SEPTEMBER 1ST, 2012

CIVIC

KUWAIT BLIND ASSOCIATION, KUWAIT

GROUND FLOOR

01.DROP OFF 02.SOUND GARDEN 03.MAIN LOBBY 04.MEETING ROOM 05.OFFICES

FIRST FLOOR

05.OFFICES 06.SEATING AREA 07.GOALBALL COURT 08.GYMNASIUM AREA 09.BATHROOMS/LOCKERS

SECOND FLOOR

10.MULTIPURPOSE ROOM 11.FITNESS CLUB

EXPLODED AXON

CIVIC

KUWAIT BLIND ASSOCIATION, KUWAIT

CIVIC

Braille Drawing

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

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.

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

GF ±0.00

ATRIUM

1B -3.5

PARKING

2B -7.0

PARKING

VISITORS P.

AUDITORIUM

PLAZA

REST.

CROSS SECTION

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

VIP DROP OFF

1B -3.5

PARKING

2B -7.0

PARKING

VIP LOBBY

ATRIUM

REST.

INVITEE LOBBY

COURTYARD

POOL

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

AERIAL VIEW

REAR ENTRANCE VIEW LONGITUDINAL SECTION

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

SITE

EXPLOITATION

SPACING-LIGHT AND AIR

SPLICING-CIRCULATION NETWORK

CONTINUOUS OFFICE-FLOOR-PLATE MONUMENT

CIVIC

NIGHT AERIAL VIEW

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

96 COURTYARD VIEW

GOVERNMENTAL

FRONT VIEW

Ventilation court

Ventilation court Ventilation court

REAR VIEW

THE CRIMINAL INVESTIGATION HEADQUARTERS, AL-SURRA, KUWAIT

LEGEND: A-1 General director office A-2 General director’s assistant

Fourth floor plan

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

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

Third floor plan

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

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

Second floor plan

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

First floor plan

Ground floor plan

Arrested / invitee

Basement-1 floor plan

Basement-2 floor plan

EXPLODED AXONOMETRY - PROGRAM ZONING

CIVIC

REAR VIEW

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

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.

100

PLACE MAKING

101

102

PLACE MAKING

103

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

CONTEXT PLAN

104

PLACE MAKING

PALMS

PLOT

MEDIATION

BUFFER

PATHS

PODS

STRUCTURE

SHADES

CASCADE

105

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

106

+30.40

+26.80

+23.20

+19.60

+16.00

+12.00

+08.00

+04.00

+00.00

+30.40

+26.80

+23.20

+19.60

+16.00

+12.00

+08.00

+04.00

+00.00

PLACE MAKING

+30.40

+26.80

+23.20

+19.60

+16.00

+12.00

+08.00

+04.00

+00.00

107

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

108

PLACE MAKING

109

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

110

PLACE MAKING

111

KHALEEJIA SQUARE, KUWAIT CITY, KUWAIT

112

PLACE MAKING

113

POST-ARAB SPRING SQUARE, KUWAIT CITY, KUWAIT

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.

114

PLACE MAKING

115

POST-ARAB SPRING SQUARE, KUWAIT CITY, KUWAIT

116

PLACE MAKING

I. SPECIAL ACTIVITIES

II. EDUCATIONAL AND CULTURAL ACTIVITES

III. SPRING / AUTUMN ACTIVITIES

IV. WATER ACTIVITIES shallow

V. SUMMER ACTIVITIES

VI. WATER ACTIVITIES deep

VII. WINTER ACTIVITIES

VIII. PHYSICAL ACTIVITIES

IX. ENTERTAINMENT

X. OPEN MARKET

XI. HIGH ENDURANCE ACTIVITIES

117

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

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.

1049 1048 1047 1046 1013

1045

1014

1044

1015

1043

1016

1042

1017 1018 1019

9 1030

2 102

8 102 1026 1027 102 3 1024 1025

1020 1021 102

118

8 1039 1040

6 1037 103 3 1034 1035 103

1031 1032 103

1041

PLACE MAKING

119

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

120

PLACE MAKING

121

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

PROGRAM LEGEND Restaurants, Cafes, Retail Gymnasium Movie Theaters Bowling Alleys Concessions / Lounge Games Area Kiosk Area Mini Market Showers & Lockers Kitchens / Storage Service Cores (Stairs, Elevators, & Bathrooms) Perimeter Service Corridor Technical Support Areas

LOWER FLOOR

PROGRAM LEGEND Restaurants, Cafes, Retail Spa Boat Brokerage

LA’ALA Pavilion Mini Market Freight Elevator Stairs/ Elevator Core

GROUND FLOOR

122

PLACE MAKING

LANDSCAPING

123

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

F.F.L @ SKYVIEW TERRACE +10.45 KLD F.F.L @ LA’ALA BELVEDERE +8.20 KLD T.O. BOARDWALK +6.45 KLD MARINA WALK LVL @ +5.2 KLD T.O.SLAB @ LA’ALA EXHIB. +5.00 KLD T.O. SLAB @ GARDEN LEVEL +2.95 KLD DIG LEVEL +1.45 KLD

T.O. PARAPET @ HIGH POINT +16.80 KLD

124

PLACE MAKING

125

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

126

PLACE MAKING

127

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

JUMEIRAH CULTURAL CENTER DUBAI, UAE

PM AXO Central zoning Belt park Central water Island building

Arced to fit in a circle Maximzing frontages

Sectionaly nested Water folds up/park folds down

Oriented north Building = canopy of park

G RAV I T

POND

SITE WATER CIRCULATION

SITE PLAN

128 SOUTH SIDE VIEW

Banded zoning Park/building/water

PUM P

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.

PLACE MAKING

WEST SIDE VIEW

129

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

GRAND STAIR HALL VIEW

STUDY MODEL VIEWS 130

PLACE MAKING

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

1 GF - COVERED PLAZA LEVEL -5.75 m

COVERED PLAZA VIEW

4 1

SECTION THROUGH MEDIATHEQUE / PUBLIC PLAZA

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

131

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

SOUTH VIEW ACROSS FROM LAKE

STUDY MODEL VIEWS 132

PLACE MAKING

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

2 10

12 7

3 5

CIRCULATION DIAGRAM

NORTH ELEVATION

SOUTH ELEVATION

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

6 5 1

6 7

SECTION THROUGH SCIENCE CENTER 2

133

JUMEIRAH CULTURAL CENTER, DUBAI, UAE

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

2 GF - PARK LEVEL 3

CULTURAL CENTER VIEW AT NIGHT

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

SECTION THROUGH THEATER

134

1 8

PLACE MAKING

1 1

3F - FOYER FLOOR LEVEL

4F - BALCONY FLOOR LEVEL

1: Media library 2: Theater 3: Science museum

1: Media library 2: Theater

VIEW OF FOYER OVERLOOKING THE LAKE

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

5 6

SECTION THROUGH GRAND STAIRS 2

135

AL-MONTAZAH RESORT, SHARM EL-SHEIKH, EGYPT

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.

136

Sauna Steam Tennis Court Outdoor Pool Kids Pool

HOSPITALITY + LEISURE

Couple’s Treatment/Massage Room Health Club Spa

AIRPORT

Kids Program/Club Bar Bookshop Restaurant Jaz Belvedere Resort Swimming Pool Café

Bank Fitness Centre/Gym Sports Centre/Court Supermarket Shopping Arcade Swimming Pool Spa Salon and Barber shop Clinic Kids Program/Club Pool Bar PiazzaTiran HotelBar Baron Hotel Sauna Game Room Bowling Kids Pool Seawater Lagoon CaféLoungeBeach Diving Centre Couple’s Treatment/Massage Room Tennis Court Savoy Hotel Restaurant cum Bar Culture displayJacuzzi Ice rink Ball Room Dancing Beach Steam Relaxation/Rest Area Golf Bar Scuba Diving Supermarket Gift shop Bank Lounge Bar Spa Restaurant Fitness Centre/Gym Lap Pool Whirlpool Four Seasons Resort Driving range Pool Bar Lounge Outdoor Pool

Snorkeling Swimming Pool 3-hole practice cours ve Clubhouse Treatment/ Massage Room Kids Program/Club Golf Volleyball 2 Putting green

Maritim Jolie Ville Royal Peninsula Hotel & Resort

Salon and Barber shop Heated Pool

OUR SITE

Sun bed/deck

Maritim Jolie Ville Golf & Resort

Horseback riding Tennis Court Café Garden

Bar Snack Bar Spa Lounge Steam Swimming Pool Fitness Centre/Gym Playground Library Game Room Bookshop Kids Pool Grand Rotana Resort & Spa Beach Exclusive Club Rotana lounge Plunge Pool Shopping Arcade Garden Restaurant Boutique Café Spa Turkish bath n and Barber shop Gift shop Sauna Domina Snack Bar Diving Centre Tennis Court

Sauna

Dentist

Pub/DiscothequeHeated Pool Babysitting/Child care Casino Sauna Outdoor Pool

In¿nity Pool

Beach side Pool

Bar Lounge Bar Fitness Centre/Gym Salon and Barber shop Hyatt Hotel Bakery/Pastry Shop Beach Sun bed/deck Volleyball ners Kiroseiz Resort Pool Bar Jogging Track Sheraton Hotel WindsurÀng Centre Snorkeling gram/Club Beach n/Rest Area Sun bed/deck Biking trail Billiards/Pool Pub/Discotheque Recreation CentreDiving Centre

Table Tennis Kids Pool

Sharm Dreams Resort

Sur¿ng Barber shop Fitness Centre/ Gym Mountain biking Beach side Pool Babysitting/Child care Kayaking Massage Room Turkish bathVolleyball Novotel Sailing Bowling Horseback riding side Pool Snack Bar Scuba Diving Snorkeling WindsurÀngMountain Gift/Newsstand Centre Boating Clinic Spa Table Tennis Stella Di Mare Beach Hotel & Spa olleyball Tennis Court Pub/Discotheque Restaurant Kids Program/Club

Marriot Sharm El Sheikh Red Sea Resort Scuba Diving

Shopping Arcade Game Room Bar Swimming Pool

Diving Centre

137

AL-MONTAZAH RESORT, SHARM EL-SHEIKH, EGYPT

138

HOSPITALITY + LEISURE

139

AL-MONTAZAH RESORT, SHARM EL-SHEIKH, EGYPT

140

HOSPITALITY + LEISURE

141

AKBUK PENINSULA, BODRUM, TURKEY

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.

SITE PLAN

142

HOSPITALITY + LEISURE

SITE MODEL

143

EDAFAH SERVICED APARTMENTS, KHOBAR, KSA

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

SOUTH ELEVATION

144

0 10m

WEST ELEVATION

5 10m

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

NE REAR VIEW

145

EDAFAH SERVICED APARTMENTS, KHOBAR, KSA

146

HOSPITALITY + LEISURE

STREET VIEW

Gymnasium Core 1 access (Furnished apts block)

Sun deck

Business center

Core 2 access (Townhouses block) Atrium ramp access

Multipurpose Hall/ restaurant Vip lounge

ROOF PUBLIC PROGRAM

147

KHOBAR FOUR FILMSEDAFAH PRINTING FACTORY, SABHAN, KUWAIT

148

SOUK ATRIUM VIEW

HOSPITALITY + LEISURE

ROOF POOL

NIGHT AERIAL VIEW

149

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

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.

150

151

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

152

MIXED-USE + RESIDENTIAL

153

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

Sealing

Sealing Sealing

Water Feature Sealing

Large trees in pool pit

Water Feature

DUPLEX TYPOLOGY - UPPER FLOOR

Sealing

DUPLEX APARTMENT WITH SKIP STOP ELEVATOR

Peripal access

Demolition debris compaction

Scaling down open spaces

Pods of activities insertion

Concrete troughs as datum

EXPLODED AXON

154

MIXED-USE + RESIDENTIAL

EAST ELEVATION

155

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

156

MIXED-USE + RESIDENTIAL

157

158

159

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

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.

160

MIXED-USE DEVELOPMENT

161

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

162

MIXED-USE + RESIDENTIAL

163

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

164

MIXED-USE + RESIDENTIAL

165

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

166

MIXED-USE + RESIDENTIAL

167

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

168

MIXED-USE + RESIDENTIAL

169

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

170

MIXED-USE + RESIDENTIAL

171

172

173

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

174

MIXED-USE + RESIDENTIAL

175

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

176

177

PEARL MARZOUQ COMPLEX, RAS SALMIYA, KUWAIT

178

MIXED-USE + RESIDENTIAL

179

ADAPTABLE HOUSING, LEBANON

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.

180

MIXED-USE + RESIDENTIAL

181

ADAPTABLE HOUSING, LEBANON

182

MIXED-USE + RESIDENTIAL

183

ADAPTABLE HOUSING, LEBANON

184

MIXED-USE + RESIDENTIAL

185

ADAPTABLE HOUSING, LEBANON

186

MIXED-USE + RESIDENTIAL

187

ADAPTABLE HOUSING, LEBANON

188

MIXED-USE + RESIDENTIAL

189

STAIR-HOUSING, GERMANY

190

MIXED-USE + RESIDENTIAL

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!

191

STAIR-HOUSING, GERMANY

192

MIXED-USE + RESIDENTIAL

193

STAIR-HOUSING, GERMANY

194

MIXED-USE + RESIDENTIAL

195

STAIR-HOUSING, GERMANY

196

MIXED-USE + RESIDENTIAL

197

STAIR-HOUSING, GERMANY

198

MIXED-USE + RESIDENTIAL

199

MasterPlan

BAHCESEHIR RESIDENTIAL PROJECT, TURKEY

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.

ELEVATIONS

200

MASTER PLAN

4.1.1 MasterPlan

MIXED-USE + RESIDENTIAL

201

BAHCESEHIR RESIDENTIAL PROJECT, TURKEY

202

203

BARAKA SEASIDE RESIDENCE, KUWAIT

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.

204

PRIVATE RESIDENCE

CLIENT BRIEF - BARN AS ARCHETYPE

REORIENTATION - MAXIMIZING SEAVIEWS

BARN ELEVATED FROM LANDSCAPE

GUEST HOUSE INSET IN LANDSCAPE

DIWANIYA FENCING LANDSCAPE

205

BARAKA SEASIDE RESIDENCE, KUWAIT

SITE PLAN

206

PRIVATE RESIDENCE

207

BARAKA SEASIDE RESIDENCE, KUWAIT

208

PRIVATE RESIDENCE

UNFOLD ELEVATION

209

BARAKA SEASIDE RESIDENCE, KUWAIT

210

PRIVATE RESIDENCE

211

BARAKA SEASIDE RESIDENCE, KUWAIT

212

PRIVATE RESIDENCE

213

BARAKA SEASIDE RESIDENCE, KUWAIT

214

PRIVATE RESIDENCE

215

216

217

BARAKA SEASIDE RESIDENCE, KUWAIT

ENVELOPE

MILLWORK

ar y Libr

e anc Entr SECOND FLOOR PLAN

FIRST FLOOR PLAN

GROUND FLOOR PLAN

218

PRIVATE RESIDENCE

m roo y r e Pott

Play roo m

Livin

ut In/O

g ro livin

g ro

ary

Li b r

219

BARAKA SEASIDE RESIDENCE, KUWAIT

220

PRIVATE RESIDENCE

221

CHALET 66, BNEIDER, KUWAIT

222

PRIVATE RESIDENCE

223

BARAKA SEASIDE RESIDENCE, KUWAIT

224

PRIVATE RESIDENCE

225

BARAKA SEASIDE RESIDENCE, KUWAIT

226

PRIVATE RESIDENCE

227

PRIVATE RESIDENCE

230

PRIVATE RESIDENCE

231

BARAKA SEASIDE RESIDENCE, KUWAIT

232

PRIVATE RESIDENCE

233

QUARTET VILLAS, KUWAIT

QUARTET VILLAS ABDULLAH AL SALEM DISTRICT, KUWAIT 4 siblings with 4 separate plots, each of whom has his/her own wishes/desires; be them symbolic, programmatic or photographic. Individually, each is interpreted architecturally to a private residence to come together, side by side, in a ‘cadavre exquis’, where no one was aware or influenced by the other! Still, the sum of all is a playful expression, of projecting volumes and inset gardens, creating a sensitively engaging whole with the surrounding.

DIWAN DESIGNED BY NORMAN FOSTER

234

FOUR PLOTS, FOUR SIBLINGS, INDIVIDUAL WISHLISTS

PRIVATE RESIDENCE

1. TANGO WITH FOSTER

IYA

AN IW

N AI M

A TR

R PA

ACCESS

FILLET UP

CARVE OU LANDSCAP

SCALE DOWN

SETBACK

SCALE DOWN

CARVE OUT LANDSCAPES

OPEN UP VIEWS

235

QUARTET VILLAS, KUWAIT

236

PRIVATE RESIDENCE

237

QUARTET VILLAS, KUWAIT

238

PRIVATE RESIDENCE

239

QUARTET VILLAS, KUWAIT

240

PRIVATE RESIDENCE

241

QUARTET VILLAS, KUWAIT

242

PRIVATE RESIDENCE

243

2. THE HOUSE OF MANY GARDENS QUARTET VILLAS, KUWAIT

2. THE HOUSE OF MANY GARDENS

DENS SETTING

THE SITE HAS ONE SOUTHERN FRONTAGE ON THE MAIN STREET

APPROACH

FOLDING THE SIDEWALK TO EQUATE UPPER AND LOWER ACCESS POINTS TO LIVING (GF) AND GATHERING (B1) SPACES

244

APPROACH

FOLDING THE SIDEWALK TO EQUATE UPPER AND LOWER ACCESS POINTS TO LIVING (GF) AND GATHERING (B1) SPACES

LOOPING

LIVING AND GATHERING ARE CONNECTED INTERNALLY ALSO, EACH BUTTRESSED BY A GARDEN ON OPPOSITE SIDES

LOOPING

LIVING AND GATHERING ARE CONNECTED INTERNALLY ALSO, EACH BUTTRESSED BY A GARDEN ON OPPOSITE SIDES

SHORTCUT

LIVING TO MASTER SUITE IS DIRECT VIA A STAIR, A BRIDGE AND A VOID SCALED WITH A FIREPLACE OVERLOOKING LIVING. THE HOUSE RE-ORIENTS ITSELF FROM E-W VIEWS IN LIVING/GATHERING TO SOUTH IN MASTER/ROOF GARDEN

PRIVATE RESIDENCE

245

3. THE EXHIBITIONIST’S HOUSE QUARTET VILLAS, KUWAIT

3. THE EXHIBITIONIST’S HOUSE

RE NT LIV E

CENTRAL HALLWAY

INTERNAL & SUNKEN COURTYARDS

246

EXPERIENCES ALONG THE CORRIDOR (PROGRAM)

CANOPY OVER THE UPPER FLOOR LEVELS

INTERNAL & SUNKEN COURTYARDS

CUTTING AWAY FROM THE NEIGHBOUR, WHILE EMPHASIZING THE FEATURE STAIR

PRIVATE RESIDENCE

247

QUARTET VILLAS, KUWAIT

4. HERITAGE REVIVAL HOUSE

DIWANIYA ENTRANCE

MAIN ENTRANCE

CORNER ACCESS

DIWANIYA ENTRANCE

MAIN ENTRANCE

CORNER ACCESS

WANIYA NTRANCE

NATURE ACCESS LIGHT AND LANDSCAPES

248

NATURE ACCESS LIGHT AND LANDSCAPES

PRIVATE RESIDENCE

249

QUARTET VILLAS, KUWAIT

250

PRIVATE RESIDENCE

251

QUARTET VILLAS, KUWAIT

252

PRIVATE RESIDENCE

253

QUARTET VILLAS, KUWAIT

254

PRIVATE RESIDENCE

255

QUARTET VILLAS, KUWAIT

256

PRIVATE RESIDENCE

257

HAYAT CHALETS, KUWAIT

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.

258

PRIVATE RESIDENCE

259

260

261

HAYAT CHALETS, KUWAIT

262

PRIVATE RESIDENCE

263

SQUARE HOUSE, KUWAIT

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.

264

265

SQUARE HOUSE, KUWAIT

266

PRIVATE RESIDENCE

267

SQUARE HOUSE, KUWAIT

268

PRIVATE RESIDENCE

269

270

271

272

273

SHEAR HOUSE, KUWAIT

274

PRIVATE RESIDENCE

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.

275

276

277

278

279

280

281

282

283

284

285

3-FAB CHALETS, LEBANON

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.

286

PRIVATE RESIDENCE

287

3-FAB CHALETS, LEBANON

288

PRIVATE RESIDENCE

289

290

291

3-FAB CHALETS, LEBANON

292

PRIVATE RESIDENCE

293

ART COLLECTOR’S RESIDENCE, AL SIDDIQ, KUWAIT

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.

294

PRIVATE RESIDENCE

295

ART COLLECTOR’S RESIDENCE, AL SIDDIQ, KUWAIT

SECTION PERSPECTIVE 296

PRIVATE RESIDENCE

MODEL 297

SARAB CHALET, SABAH AL-AHMAD SEA CITY, KUWAIT

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.

LAGOON

8 10 6 5

1 4

1. FOYER 2. LIVING 3. DINING 4. GUEST SUITE 5. GUEST BATHROOM 6. KITCHEN 7. SERVICE LIVING QUARTERS 8. PATIO 9. SEA LOUNGE 10. SUN DECK

298

1. FOYER 2. LIVING 3. DINING 4. GUEST SUITE 5. GUEST BATHROOM 6. KITCHEN 7. SERVICE LIVING QUARTERS 8. PATIO 9. SEA LOUNGE 10. SUN DECK

AIN

GROUND FLOOR PLAN

SITE PLAN

PRIVATE RESIDENCE

299

SARAB CHALET, SABAH AL-AHMAD SEA CITY, KUWAIT

+ 09.70

+ 05.00

+ 01.00

- 00.80

SOUTH EAST ELEVATION

+ 09.70

7 6

+ 05.00

1 + 01.00

3 43

+ 01.00

1. LIVING 1. LIVING 2. DINING 2. DINING 3. GUEST BATHROOM 3. GUEST BATHROOM 4. KITCHEN 4. KITCHEN 5. SERVICE LIVING 5. SERVICE QUARTERS LIVING QUARTERS 6. MASTER BEDROOM 6. MASTER BEDROOM 7. BAR LOUNGE 7. BAR LOUNGE 8. STORAGE8. STORAGE

SECTION

300

PRIVATE RESIDENCE

301

SARAB CHALET, SABAH AL-AHMAD SEA CITY, KUWAIT

302

PRIVATE RESIDENCE

303

SARAB CHALET, SABAH AL-AHMAD SEA CITY, KUWAIT

304

PRIVATE RESIDENCE

305

SARAB CHALET, SABAH AL-AHMAD SEA CITY, KUWAIT

306

PRIVATE RESIDENCE

307

SEASIDE QUARTET, SABAH AL-AHMAD SEA CITY, KUWAIT

SEASIDE QUARTET SABAH AL-AHMAD SEACITY, KUWAIT Four chalets are wedged in one site along the man-made lagoons of Sabah Al Ahmad Seacity. Each of the three-storeys is intended for long-term rentals. Although all chalets follow a typical plan, each is specific in the way it adapts to the site configuration and seaside views. One plain wall, with punched entrance openings on the street side, is transformed into singular ribbons with glazed infills on the seaside. The chalets twist and turn harmoniously, each capturing its own landscape and seaside views away from the rest.

LAGOON

SITE PLAN

+ 13.25

+ 09.35

+ 05.30 + 05.00

+ 00.90 + 00.00 - 00.70

308

FFL - 00.70

SAND BEACH

FFL - 00.70

SAND BEACH

OVERALL ELEVATION

SECTION 1 SECTION 1 PRIVATE RESIDENCE

+ 13.35

+ 09.35

+ 05.00

+ 00.90

+ 00.90 + 00.00 - 00.70

SECTION 1 SECTION 2 SECTION 2 + 13.35

+ 09.35

+ 05.00

+ 00.90 + 00.00 - 00.70

SECTION 2

309

SEASIDE QUARTET, SABAH AL-AHMAD SEA CITY, KUWAIT

310

PRIVATE RESIDENCE

311

WEEKEND POOL HOUSE

WEEKEND POOL HOUSE SALWA, KUWAIT A getaway pool house, in the middle of the city, has its program spread around two pools; a lap pool on the first floor, with infinity edge, cascading on a recreational central pool on the ground floor. The L-shaped, 2-storey house, has its living and dining quarters on the ground floor, wrapped around and overlooking the sun deck, offset from the pool. The first floor has the sleeping quarters overlooking the main pool and accessing a lap pool on the first floor. A cascading water wall, between the first and ground floor pools, conceals the view between the central courtyard and the car ramp accessing the basement floor, with car parking, technical spaces, and services. A mezzanine for female staff, with separate access, is tucked in the double height space above the majlis area. A generous skylight counters the dipped ceiling above the open kitchen’s central counter.

312

PRIVATE RESIDENCE

313

WEEKEND POOL HOUSE

314

PRIVATE RESIDENCE

SITE PLAN

GROUND FLOOR PLAN

FIRST FLOOR PLAN 315

VERTICAL DIWANIYA, AL SHAMIYA, KUWAIT

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.

316

18.65+ 18.65+

18.65+

15.15+ 15.15+

15.15+

10.80+ 10.80+

10.80+

5.80+ 5.80+

5.80+

0.00± 0.00±

0.00±

PRIVATE RESIDENCE

317

318

319

CROSBY APARTMENT, NEW YORK CITY, USA

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.

READING AREA

OFFICE NOOK

4 1

8 10 7 6

FLOOR PLAN

320

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

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

CROSBY APARTMENT, NEW YORK CITY, USA

LIVING AREA

321

CROSBY APARTMENT, NEW YORK CITY, USA

BUILT-IN STORAGE

RAISED MAJLIS AREA

322

PRIVATE RESIDENCE

COAT CLOSET

LIVING AREA

323

CROSBY APARTMENT, NEW YORK CITY, USA

DOOR-IN-DOOR

324

SLIDING STORAGE

PRIVATE RESIDENCE

SLIDE-IN MASTER CLOSET

SLIDE-OUT MUSIC ROOM

325

326 BUILT-IN MASTER CLOSET

PRIVATE RESIDENCE

SLEEPING AREA

327

EATING AREA

328

PRIVATE RESIDENCE

329

CROSBY APARTMENT, NEW YORK CITY, USA

MASTER BATHROOM

330

PRIVATE RESIDENCE

GUEST BATHROOM

331

FORSYTH RESIDENCE, NEW YORK CITY, USA

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

3 4 2

FLOOR PLAN

332

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

6 7

PEEKABOO WALL MOTHER’S SIDE

333

FORSYTH RESIDENCE, NEW YORK CITY, USA

MASTER BATH TUB IN BEDROOM

334

PRIVATE RESIDENCE

MASTER TOILET

335

FORSYTH RESIDENCE, NEW YORK CITY, USA

BUILT-IN CLOSET DETAIL

MASTER WALK-IN CLOSET

336

PRIVATE RESIDENCE

GUEST/ DAUGHTER TOILET

337

VALEO SECURITY SYSTEMS, SÃO PAULO, BRAZIL

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.

SITE PLAN

338

339

VALEO SECURITY SYSTEMS, SÃO PAULO, BRAZIL

ELEVATIONS

340

INDUSTRIAL

CROSS SECTION

341

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

342

INDUSTRIAL

CLERESTORY LIGHTING

343

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

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.

CROSS SECTION

344

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

AERIAL VIEW

345

FOUR FILMS PRINTING FACTORY, SABHAN, KUWAIT

346

INDUSTRIAL

WEST ELEVATION

SOUTH ELEVATION

SW ENTRANCE CORNER

347

MODEL PHOTO - NORTH LIGHT MONITORS

348

349

AL NAFISI TOWER, KUWAIT

AL NAFISI TOWER RESIDENCE KUWAIT CITY, KUWAIT

Top Parapet F.F.L +108.750

Roof Top

+107.300

Roof Top

+107.300

Roof

+103.650

Roof

+103.650

15th F.F.L. +99.150

14th F.F.L. +94.650

32,400

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).

13th F.F.L. +90.150

12th F.F.L. +85.650

11th F.F.L. +81.150

22,000 4,220

6,259

5,121

6,401

Top Parapet F.F.L +76.35

5,700

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

BLACK PIGMENTED CONCRETE

3,000

Top Roof F.F.L +75.15

1,200

Top Parapet F.F.L+76.35

BLACK PIGMENTED CONCRETE

Top Roof F.F.L +75.15

PHOTOVOLTAIC LOUVERS

Roof F.F.L +72.15

4,500

CURTAIN WALL TINTED GLASS CW-22

CW-01

CURTAIN WALL TINTED GLASS BLACK PIGMENTED CONCRETE

CW-06

CW-10

CW-01

CW-17

CW-10

CW-01

3,000

4,500

Roof F.F.L +72.15

CW-01

CW-22

CW-12

CW-15

CW-01

CW-07

CW-14

CW-12

CW-15

CW-06

CW-01

CW-07

CW-14

CW-12

CW-15

CW-06

CW-01

CW-07

CW-14

CW-12

CW-29

CW-06

CW-01

CW-28

CW-14

CW-12

CW-29

CW-06

CW-01

CW-28

CW-14

CW-12

CW-29

CW-06

CW-01

CW-07

CW-14

CW-12

CW-15

CW-06

CW-01

CW-07

PHOTOVOLTAIC LOUVERS

+67.65

8th F.F.L +67.65 CW-12

CW-12

CW-14

CW-07

CW-01

CW-06

4,500

CW-15

4,500

CURTAIN WALL TINTED GLASS

PHOTOVOLTAIC LOUVERS

+63.15

7th F.F.L +63.15 CW-12

CW-12

CW-14

CW-07

CW-01

CW-06

4,500

CW-15

4,500

PHOTOVOLTAIC LOUVERS

+58.65

6th F.F.L +58.65

CW-12

CW-14

CW-07

CW-01

CW-06

4,500

CW-15

PHOTOVOLTAIC LOUVERS

+54.15

5th F.F.L +54.15

CW-12

CW-14

CW-01

CW-22

CW-11

CW-22

CW-01

CW-06

4,500

CW-12

CURTAIN WALL TINTED GLASS BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

CURTAIN WALL TINTED GLASS

+49.65

4th F.F.L +49.65 CW-12

CW-23

CW-16

CW-23

CW-12

CW-14

CW-28

CW-01

CW-22

CW-11

GD-D07

CW-22

CW-01

CW-06

4,500

CW-12

4,500

4th F.F.L

CURTAIN WALL TINTED GLASS

BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

5th F.F.L

9,000

CURTAIN WALL TINTED GLASS

6th F.F.L

CURTAIN WALL TINTED GLASS BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

PHOTOVOLTAIC LOUVERS

+45.15

3rd F.F.L +45.15 CW-12

CW-07

CW-11

CW-12

CW-14

CW-22

CW-01

CW-06

4,500

CW-12

4,500

3rd F.F.L

68,700

PHOTOVOLTAIC LOUVERS

+40.65 CW-23

CW-12

CW-14

CW-07

CW-11

CW-22

CW-01

CW-06

76,200

4,500

76,200

CW-16

4,500

2nd F.F.L+40.65 CW-15

CURTAIN WALL TINTED GLASS

BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

1st F.F.L

CURTAIN WALL TINTED GLASS BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

2nd F.F.L

10,500

7th F.F.L

4,500

BLACK PIGMENTED CONCRETE

7,500

8th F.F.L

PHOTOVOLTAIC LOUVERS

+36.15

1st F.F.L +36.15

4,500

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

P4 F.F.L

+27.15

P5 F.F.L +31.65

4,500

+31.65

4,500

P5 F.F.L

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

P4 F.F.L +27.15

4,500

22,500

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

P2 F.F.L

+18.15

P3 F.F.L +22.65

4,500

+22.65

4,500

P3 F.F.L

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

P2 F.F.L +18.15

4,500

BLACK PIGMENTED CONCRETE

PHOTOVOLTAIC LOUVERS

+13.65

P1 F.F.L +13.65 CW-12

CW-12

CW-14

CW-28

CW-01

CW-06

CW-12

CW-29

CW-01

CW-22

CW-12

CW-29

CW-01

CW-22

CW-12

CW-29

CW-01

CW-28

PHOTOVOLTAIC LOUVERS

+9.15

M2 F.F.L +9.15

CW-12

CW-28

CW-01

CW-12

CW-01

CW-12

CW-14

4,500

CW-29

CURTAIN WALL TINTED GLASS BLACK PIGMENTED CONCRETE

BLACK PIGMENTED CONCRETE

CW-30

BLACK PIGMENTED CONCRETE

13,500

CW-01

BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

PHOTOVOLTAIC LOUVERS

+4.65

M1 F.F.L +4.65

CW-29

CW-12

CW-31

CW-01

GD-D05

7,500

M1 F.F.L

CW-12

CW-01

CURTAIN WALL TINTED GLASS

BLACK PIGMENTED CONCRETE

CURTAIN WALL TINTED GLASS

M2 F.F.L

CW-12

4,500

CW-29

4,500

P1 F.F.L

4,500

BLACK PIGMENTED CONCRETE

CW-28

CW-04

GD-D01

CW-01

GD-D03

CW-04

GD-D04

FD-D01

CURTAIN WALL TINTED GLASS

FD-D01

CD-D01

CURTAIN WALL TINTED GLASS

F.F.L

+0.15

GF F.F.L +0.15

ELEVATION 1

350

ELEVATION 2

OFFICE TOWER OFFICE

351

AL NAFISI TOWER, KUWAIT

352

353

AJIAL REAL ESTATE OFFICES, KUWAIT

354

OFFICE

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.

355

AJIAL REAL ESTATE OFFICES, KUWAIT

356

OFFICE

357

AJIAL REAL ESTATE OFFICES, KUWAIT

358

OFFICE

359

AJIAL REAL ESTATE OFFICES, KUWAIT

360

OFFICE

361

AJIAL REAL ESTATE OFFICES, KUWAIT

362

OFFICE

363

AJIAL REAL ESTATE OFFICES, KUWAIT

364

OFFICE

365

AJIAL REAL ESTATE OFFICES, KUWAIT

366

OFFICE

367

AJIAL REAL ESTATE OFFICES, KUWAIT

368

OFFICE

369

AQARAT HEADQUARTERS, KUWAIT CITY, KUWAIT

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.

2 7

5 7

1. Managing Directors Office 2. CEO Office 3. Department Manager Office 4. Senior Staff Office 5. Secretary 6. Conference Room 7. Staff Desk 8. Waiting Area

ROOF PATTERNS

370

371

AQARAT HEADQUARTERS, KUWAIT CITY, KUWAIT

372

OFFICE

373

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

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.

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

374

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

375

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

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.

And/or

Basic

And/or

Conference

Art gallery

Basic

The movable thick walls are a redundant adaptation of off-the-shelf ‘compact shelving’ storage systems. They are staggered to adapt the plan to different modes of operation

376

Conference

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

Art gallery

OFFICE

OFFICE-TO-OFFICE VIEW

377

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

378

ONE OFFICE VIEW

OFFICE

ONE-OFFICE PLAN

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

379

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

PUSH-PULL PARTITIONS

380

OFFICE

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

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

381

KAZMA CLUB DEVELOPMENT PROJECT, ADAILIYA, KUWAIT

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.

382

RETAIL

383

KAZMA CLUB DEVELOPMENT PROJECT, ADAILIYA, KUWAIT

384

RETAIL

385

KAZMA CLUB DEVELOPMENT PROJECT, ADAILIYA, KUWAIT

386

RETAIL

ROOF MARKET EXTENSION

387

KAZMA CLUB DEVELOPMENT PROJECT, ADAILIYA, KUWAIT

388

RETAIL

389

Z-COMMERCE PARK, SALMIYA, KUWAIT

390

RETAIL

391

392

393

394

395

396

397

AL YARMOUK CLUB DEVELOPMENT PROJECT, MISHREF, KUWAIT

AL YARMOUK CLUB DEVELOPMENT PROJECT MISHREF, KUWAIT Located on the SW corner of Yarmouk Sports Club (YSC), the building operates as an urban catalyst. With a cluster of open playing-fields along its NW façade, the building tapers in to create seating wedged and topping the commercial programs, to connect visually to YSC. This is coupled with a physical one, whereby the building program and access become a hub for two shaded trails proposed in and around YSC.

Roof

oop ack r eL Bik ing T g Jog

20.00+

17.35+

14.90+ RF

07.75+

05.35+ FF

00.15+ GF

Tilt 05.05B1

09.05B2

PROGRAM TECH AREA

398

RETAIL

399

AL YARMOUK CLUB DEVELOPMENT PROJECT, MISHREF, KUWAIT

400

RETAIL

401

Z-COMMERCE PARK, SALMIYA, KUWAIT

Z-COMMERCE PARK SALMIYA, KUWAIT In a residential area with sidewalk cafes, the building block is tucked on the oblique side, with a vacant neighboring land. By law, this public land can be beautified. To set a pattern in and out of the site, the façade zig zags up with F&B fronts opening to cascading terraces. The complex’s side façade, along the main road, wedges in to allow for a covered drop off and, from there on, leads to a surface rear parking. The flat rear façade converges inward to allow views from the vertical food court out.

402

RETAIL

403

SAMOVAR CARPETS & ANTIQUES, CITYWALK, DUBAI, UAE

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.

404

RETAIL

405

SAMOVAR CARPETS & ANTIQUES, CITYWALK, DUBAI, UAE

406

RETAIL

407

SAMOVAR CARPETS & ANTIQUES, CITYWALK, DUBAI, UAE

408

RETAIL

409

SAMOVAR CARPETS & ANTIQUES, CITYWALK, DUBAI, UAE

410

RETAIL

411

SAMOVAR CARPETS & ANTIQUES, THE PEARL, QATAR

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.

412

RETAIL

413

20 PEACOCKS, NEW YORK CITY, USA

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.

DOOR HANDLE DETAIL

414

RETAIL

STOREFRONT

FLOOR PLAN

415

20 PEACOCKS, NEW YORK CITY, USA

416

ENTRANCE

RETAIL

CASH WRAP

417

20 PEACOCKS, NEW YORK CITY, USA

418

INTERIOR VIEW - RETAIL SHELVING SETUP

RETAIL

INTERIOR VIEW - GALLERY HANGING SETUP

419

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

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.

420

RETAIL

BAL HARBOUR, FL. INTERIOR VIEWS

421

INTERMIX, USA

422

RETAIL

FIFTH AVENUE NEW YORK - USA

FIFTH AVENUE, NY. FLOOR PLAN

FIFTH AVENUE, NY. INTERIOR VIEWS

423

INTERMIX, USA

424

RETAIL

425

INTERMIX, USA

426

MADISON AVENUE, NY. STOREFRONT

RETAIL

MADISON AVENUE NEW YORK - USA

427

INTERMIX, USA

428

MADISON AVENUE, NY. INTERIOR VIEWS

RETAIL

429

INTERMIX, USA

430

RETAIL

431

INTERMIX, USA

432

SOHO, NY. INTERIOR VIEWS

RETAIL

433

434

URBAN 435

HOLMESTRAND MUNICIPALITY, HOLMESTRAND, NORWAY

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.

2 3

5 6

7 8

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

436

437

HOLMESTRAND MUNICIPALITY, HOLMESTRAND, NORWAY

438

URBAN

NIGHT VIEW

FRONT ELEVATION

CROSS SECTION

439

MARTYRS’ SQUARE COMPETITION, BEIRUT, LEBANON

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.

440

URBAN

441

ICONICITY OF THE FRIDAY MOSQUE

442

LAND USE

A further development of this idea would distort the grid by bending the major vehicular streets, creating a sense of a visual dead-end as one is approaching the mosque by car, while maintaining a clear vehicular access from one end of the site to the next. The resulting plan is an urban design that is as rich in its silhouette as that of Istanbul, achieved by regaining the majestic heights of the mosques, with its minarets punctuating the sky and building up to it in the residential grain of the neighborhood.

LOCAL MOSQUES

FRIDAY MOSQUES

PRIMARY SCHOOLS

KINDERGARTENS

ELEMENTARY SCHOOLS

CULTURAL CENTER HEALTH CENTER POST OFFICE

Hybrid Grid Implemented by Doxiades in modern Riyadh, the Grid is redefined for this project in a new understanding that is both modern and historical. Its horizontal twodimensional nature is warped and distorted into a thirddimensional topology, that of the two Friday mosques that constitute two hills. Easily identifiable from all corners and shaping the silhouette of the neighborhood, they become visual markers of orientation, a seminal role played by the mosque across all ancient Islamic cities. Between these two artificial hills, reminiscent of desert dunes, a landscaped valley is created, whose main focus is the cultural center. The Grid, therefore, is a hybrid between modern notions of efficiency and organization and is a more vernacular version of the desert, as well as the local organizational system of nodal and focal religious and educational centers in the urban fabric.

URBAN DISTRIBUTIONS OF PUBLIC BUILDINGS

CULTURAL VALLEY

R:275m

R:800m

URBAN HILLS

R:550m

R:800m

URBAN NODES: FRIDAY MOSQUES

R:275m

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

R:550m

Integrated/ Elevated Mosques

URBAN FABRIC

BENDING THE GRID

INTEGRATION OF THE LOCAL MOSQUE

ANALYSIS OF BUILDING HEIGHT DISTRIBUTION

HYBRID GRID CITY RIYADH, KSA

URBAN SILHOUETTES

HYBRID GRID CITY, RIYADH, KSA

URBAN

443

HYBRID GRID CITY, RIYADH, KSA

Landscape: Prayer Rug

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

444

AVENUES LIGHTING

ALLEYS LIGHTING

ENVIRONMENTAL OPEN SPACES

TRAFFIC & PARKING AREA DISTRIBUTION

LANDSCAPE PALETTE

PRAYER RUG

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

Plantation and vegetation is dispersed throughout the neighborhood to create a variety of shade within the different sectors. Along the major avenues, palm trees create a tall counterpoint to the minaret, leading up to them from both sides. The more intimate residential quarters and gardens are lined with Tamarisk trees (tamarix aphylla), originally used in the traditional buildings of Najd. The streets are made of asphalt for the major avenues, basalt for the neighborhood streets and Grasscrete for the connecting arteries, to encourage their use for pedestrians, while allowing slow vehicular traffic.

Environment

Circulation: Avenues and Alleys

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

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

URBAN

The five avenues each have a distinctive character that is derived from the institutional programs that they serve - a cultural avenue leading to the cultural center, the Friday mosques avenue, the school avenue and so on. In the perpendicular direction, running southwest / northeast, are the pedestrian commercial souks that animate the neighborhood and connect to the city beyond. Also, one can find the main park / water basin that runs along the valley created by the two mosques’ hills.

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

LAND USE

AREA (M2)

LAND USE PERCENTAGE TO TOTAL AREA (%)

RESIDENTIAL AREAS

408635.75

57 %

PUBLIC SERVICES

100274.5

14 %

ROADS & PEDESTRIAN WALKS 175994.75

24 %

NOTES

Including Courtyards

GREEN & OPEN AREAS

33137.5

Not Including Residential Courtyards

TOTAL AREA (M2)

718042.5

100 %

Area Setback from Perimeter Street

NO. OF FLOORS

COVERAGE AREA (%)

R-1

RESIDENTIAL UNIT TYPE (A)

100 230 585

40%

R-2

RESIDENTIAL UNIT TYPE (B)

94 170 280

60%

R-2

RESIDENTIAL UNIT TYPE (B)

706 225 375

60%

R-3

RESIDENTIAL UNIT TYPE (C)

100 155 250

60%

R-4

RESIDENTIAL UNIT TYPE (D)

150 138 230

60%

R-5

RESIDENTIAL UNIT TYPE (E)

100 100 165

60%

LAND AREA PER UNIT (M2)

SERVICE RANGE

TOTAL RESIDENTIAL AREA (M2)

BUILT UP AREA PER UNIT (M2)

RESIDENTIAL UNIT TYPE

PLOT AREA PER UNIT (M2)

RESIDENTIAL UNITS NO. OF UNITS

The Zoning is devised as an intersection of the grid bands spanning along avenues (Zones 1 to 7 regulate land use) and the concentric rings rippling down from the Friday mosques (Zones A to F regulate FAR and exterior finishes). Zones A to E set the maximum height for buildings and are FAR engineered to generate an overall gradation in height creating the two ‘hills’ with the Friday mosques at their centers. For example, Zone E dictates the highest building envelope, while Zone A is the lowest. Zones A to E also dictate a gradation in material finishes from 100 per cent Saudi Kour at the perimeter (Zone A) to a hybrid of Kour and Corten steel as one gets closer to the Friday mosque (Zone E). Zone F dictates the valley condition governed by a required provision of water reservoirs/ water features and wetlands centered on the cultural center and spanning diagonally to connect the opposite ends of the commercial spines. Zones 1 to 7 set the exact percentages of land use mix among residential, religious, and institutional to comply with the competition brief.

CODE

COMMERCIAL SPINES

Zoning/ Building Code

408635.64

F A

B C

BUILDING ZONING OVERLAYS

PEDESTRIAN DRIFTS

SERVICE

RELIGIOUS SERVICES

RS-1

LOCAL MOSQUE

1600 1600 275

RS-2

FRIDAY MOSQUE

6200 5381 550

EDUCATIONAL SERVICES

ES-1

KINDERGARTEN

1050 810 275

ES-2

BOYS PRIMARY SCHOOL

7000 6200 550

ES-3

GIRLS PRIMARY SCHOOL

7000 6200 550

ES-4

BOYS ELEMENTARY SCHOOL

7135 7135 800

ES-5

GIRLS ELEMENTARY SCHOOL

7135 7135 800

OTHER SERVICES

PS-1

PUBLIC GARDENS & CHILDREN'S PLAY

PS-2

HEALTH CENTER

PS-3

POST OFFICE

500 600 800

PS-4

CULTURAL CENTER

1600 2000 800

PS-5

COMMERCIAL SERVICES

10000 6000

TOTAL AREA FOR SERVICES (M2)

33137.59

550 800

1700 1700 800

AREA TABULATION

AREA PER UNIT (M2)

NO. OF UNITS

CODE

PUBLIC SERVICES

550

133412.11

445

HYBRID GRID CITY, RIYADH, KSA

RESIDENCE TYPE

VARIATIONS: 5 HEIGHT: 3 FLOORS AREA: 700 m2

RESIDENCE TYPE

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 450 m2

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 350 m2

PRIVATE PUBLIC RESIDENCE TYPE

VARIATIONS: 4 HEIGHT: 2 FLOORS AREA: 450 m2

HOUSING TYPOLOGIES

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 275 m2

RESIDENCE TYPE

VARIATIONS: 3 HEIGHT: 3 FLOORS AREA: 100 m2

446

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

URBAN

IMAM SAUD BIN FAISAL ROAD

LOCAL MOSQUE

LOCAL MOSQUE GIRLS KINDERGARTEN

BOYS PRIMARY+KINDERGARTEN GIRLS PRIMARY FRIDAY MOSQUE

CULTURAL CENTER LOCAL MOSQUE

BOYS ELEMENTARY

AL-KHAIR ROAD

GIRLS ELEMENTARY LOCAL MOSQUE

WESTERN ROAD

BOYS PRIMARY

GIRLS PRIMARY+KINDERGARTEN

BOYS KINDERGARTEN

LOCAL MOSQUE

FRIDAY MOSQUE

LOCAL MOSQUE

SOUTHERN ROAD QIBLA DIRECTION

15 5

165 65

447

OFFSHORE URBANISM, COASTLINE, LEBANON

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

448

AERIAL VIEW

449

OFFSHORE URBANISM, COASTLINE, LEBANON

TRIPOLI SHIKKA

AL-BATROUN

JUBAYL JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH

450

URBAN

BEIRUT PRE-EVACUATION

451

OFFSHORE URBANISM, COASTLINE, LEBANON

TRIPOLI

SHIKKA

AL-BATROUN

JUBAYL

JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH BARGES ALONG SHORE

452

URBAN

TRIPOLI

SHIKKA

AL-BATROUN

JUBAYL

JOUNIEH

BEIRUT

AD-DAMUR

SIDON

AS-SARAFAND

TYRE

AN-NAQURAH BARGES OFFSHORE

453

OFFSHORE URBANISM, COASTLINE, LEBANON

BEIRUT POST-EVACUATION

454

SECTION PERSPECTIVE

455

OFFSHORE URBANISM, COASTLINE, LEBANON

EXILE TO NOWHERE

456

URBAN

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

457

SQUATVILLE EXHIBITION ARTISTS SPACE, NEW YORK CITY, USA

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.

458

SQUATVILLE

SITE PLAN MODEL

459

SQUATVILLE EXHIBITION ARTISTS SPACE, NEW YORK CITY, USA

EXHIBITION

460

URBAN

SITE PLAN MODEL

461

SQUATVILLE EXHIBITION ARTISTS SPACE, NEW YORK CITY, USA

MODEL

462

URBAN

ABSOLUTE SUBURBIA

SQUATVILLE

HOME (MINUS) LIVING COLLAGE

463

SQUATVILLE EXHIBITION ARTISTS SPACE, NEW YORK CITY, USA

February 12, 2004

464

URBAN

465

TERMINAL CITY, DUBAI, UAE

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 experience capitalism at its best (or worst!). On checking out of the terminal, one can only be on the way to checking in again, i.e. on the way out. In between, a vertical city stretches, with all the living, working and entertainment amenities a city holds. Terminal City even has a cemetery, which, located at the center of the structure, is the furthest point away from any gates.

SOUTH

DOMES

EAST

TIC FLIG

HTS

S HT ST EA L FLIG T’ IN

T AS HE HTS RT NO L FLIG T’

466

STI

LIG

RT H

467

TERMINAL CITY, DUBAI, UAE

468

URBAN

469

470

FURNITURE DESIGN 471

DAWRAT TABLE, KUWAIT CITY, KUWAIT

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.

472

FURNITURE DESIGN

473

474

475

MUY.BRARY WALL, SALMIYA, KUWAIT

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.

476

FURNITURE DESIGN

477

MUY.BRARY WALL, SALMIYA, KUWAIT

UPPER LEVEL BEDROOMS

MID LEVEL ENTRANCE

478

FURNITURE DESIGN

TV DESK

LOWER LEVEL ENTRANCE

FLATTENED SECTION

479

MUY.BRARY WALL, SALMIYA, KUWAIT

480

FURNITURE DESIGN

481

MUY.BRARY WALL, SALMIYA, KUWAIT

482

FURNITURE DESIGN

483

484

EXHIBITIONS 485

PAD TO THE POWER 10, EXHIBITION STAND, KUWAIT CITY

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.

486

487

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

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.

488

MODEL PHOTOS

EXHIBITIONS

489

2002 YOUNG ARCHITECTS FORUM: MATERIAL PROCESS, THE ARCHITECTURAL LEAGUE OF NEW YORK, USA

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.

490

EXHIBITIONS

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

491

ODD SIDE OF BROADWAY, NEW YORK CITY, USA

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.

492

EXHIBITIONS

493

ODD SIDE OF BROADWAY, NEW YORK CITY, USA

494

EXHIBITIONS

495

PAD x France Paris 208 Rue St Maur 75010 Paris T +33 7 76 03 29 20 E info@pad10.com

PAD 10 Kuwait Kuwait City Sharq Khalid Ibn Al Waleed Street Al Tujjar Building 3rd Floor T +965 222 85 900

PAD 7 Lebanon Beirut Mar Mikhayel Nicolas Turk Street Il Risveglio Bldg 7th Floor T +961 1 446 772

Curriculum vitae

NAJI MOUJAES

Jun-23

French, Canadian, and Lebanese National

EDUCATION 2019-2021

EMBA

American University of Beirut

1997-1999

M’Arch II

Southern California Institute of Architecture (SCI-Arc)

1991-1996

B’Arch

American University of Beirut

Beirut, LEBANON

Lugano, SWITZERLAND Los Angeles CA, USA

Beirut, LEBANON

AREEN AWARD FOR EXCELLENCE IN DESIGN

PROFESSIONAL PAD10 Architects + Designers

2009-Present

Kuwait City, KUWAIT Beirut, LEBANON Paris, FRANCE

Founding Principal Architect A/L A/E A/L

CREDENTIALS

I/E I/E A/E A/E A/E A/I/L/E A U/A/I/L U/A A/I/L/E A/I/L/E U/A/I/L

A/I/L/E U/A/L L/E A U I/E U/A/I/L/E A/E A/E I/E I/E

Portugal Elderly Home TSC Yarmouk Commercial Center Plot 2 Architecture Kuwait Finance House Headquarters (Façade & Landscape) NBK Museum Interior Design in New Headquarters Ajial Real Estate HQ Offices Interior Design TSC Kazma Commercial Center Architecture TSC Yarmouk Commercial Center Plot 3 Architecture Mansour Residence Architecture Hind Residence Architecture & Interior Alula 100 Houses By 100 Architects Competition Berlin Affordable Housing Architectural Competition Dareen Marina Urban Promenade 3-Fab Chalets Architecture & Landscape 4-Siblings Villas Architecture & Landscape KFAS Headquarters and Convention Center Architecture Baraka Seaside Residence North Design Union HQ, China

I/E I/E

Kuwait City, KUWAIT Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

Under Construction

Kuwait City, KUWAIT

Under Construction

Kuwait City, KUWAIT

Under Construction

Kuwait City, KUWAIT

Competition Competition

Samovar Antiques & Carpets

Design Completed

Jubail, KSA

Construction Permitted

Laqlouq, LEBANON

BUILT

Kuwait City, KUWAIT Kuwait City, KUWAIT

PHASE-EINS BERLIN FINALISTS AWARD BUILT

Kuwait City, KUWAIT

Competition

Hexi, CHINA

CERTIFICATE OF HONOR BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

UNBUILT

Kuwait City, KUWAIT

VERTICAL FACTORIES EXHIBITION, SKYSCRAPER MUSEUM NYC

Souk Kuwait Renovation Souk Al-Kabir Renovation Souk Safat Renovation Aqarat Real Estate Offices Interior Fitout GREPCO Real Estate Offices Interior Fitout

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AlUla, KSA Berlin, GERMANY

Competition

Khaleejia Square Vertical Diwaniya Post-Arab Spring Square NBK Museum Interior Design in Headquarters Pearl Marzouq Residential Complex Kuwait Blind Association Sports Complex Four Films Printing Press Factory

I/E

A/I

Design Ongoing Design Completed

AIA ME MERIT AWARD FOR BUILT WORK

I/E

A/I

PORTUGAL Kuwait City, KUWAIT

SHORTLISTED/ AWARDED BY THE ROYAL COMMISSION OF ALULA (RCU)

I/E

A/I

Competition Design Ongoing

Msheireb Citywalk The Pearl The Pearl II Mall of Qatar

Ongoing

Doha, QATAR

BUILT

Dubai, UAE

BUILT

Doha, QATAR

BUILT

Doha, QATAR

BUILT

Doha, QATAR

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

BUILT

Kuwait City, KUWAIT

RESUME

Nuqat 2015 Stage Design

BUILT

L.E.FT

2001-2010

Kuwait City, KUWAIT

New York City, USA

Co-founding Principal Architect

U U U/A U U I/E I/E I/E U/A U/A/I

Offshore Urbanism Terminal City Marina Zeituonay Bay Hybrid Grid City Makkah Western Gate, Design Consultant OMA Crosby Residence Forsyth Residence Intermix Retail Stores Jumeirah Cultural Center Surround Datahome

U/A

Arab Cultural Center

Center for Architecture

LEBANON

Competition

Dubai, UAE

BUILT

Beirut, LEBANON

Competition

KSA

Competition

Makkah, KSA

BUILT

New York City, USA

BUILT

New York City, USA

BUILT

New York City, USA

Competition

New York City, USA

Competition

Dubai, UAE

SHINKENCHIKU JAPAN ARCHITECT (JA) HONORABLE MENTION Competition

Tokyo, JAPAN Washington DC, USA

MOSAIC FOUNDATION FIRST PRIZE WINNER Competition

Prague, CZECH REPUBLIC

AIA FIRST HONORABLE MENTION

Davis Brody Bond Architects & Planners

2001-2006

New York City, USA

Architectural Designer

A/I A/I I/E U/A

World Trade Center Memorial Museum Valeo Car Parts Factory

BUILT

New York City, USA

AIA PRESIDENTIAL CITATION AIA ARCHITECTURE AND INTERIOR HONOR AWARDS BUILT

São Paulo, BRAZIL

AIA NEW YORK STATE DESIGN AWARD BUILT

New York City, USA

NY CHAPTER DESIGN AWARD Competition

New York City, USA

Human Rights in China Offices, Empire State Building NYC 2012 Summer Olympics

In collaboration with Martha Schwartz, Joel Sanders, and Office d’A

INTERNSHIPS Nadim Karam & Atelier Hapsitus

1994-1998

Beirut, LEBANON

Voyage: On the Edge of Art, Architecture and the City. Graphic Designer

Book

The Giraffe, The Wild Cat, and the Apparently Digested Objects. Graphic Designer PCB-137. Graphic Designer Hilarious Beirut Urban Stories. Team member PCB-137. Project Architect The Carrier at The National Museum. Project Assistant National Museum of Korea. Team member Erotic Museum, Berlin. Team member

Art Catalogue

Serpentine Galery, UK

Art Catalogue

Prague, CZECH REPUBLIC

London, UK

Published by BOOTH-CLIBBORN EDITIONS, LONDON

Riken Yamamoto & Fieldshop

1996-1997

Urban Follies

Beirut, LEBANON

Urban Art Installation

Prague, CZECH REPUBLIC

Urban Art Installation

Beirut, LEBANON

Competition

Seoul, SOUTH KOREA

Competition

Berlin, GERMANY

Yokohama, JAPAN

Desert Museum Competition, Tottori-Ken

Competition

Massimiliano Fuksas Architetti

1994

Rome, ITALY

Cergy-Le-Haut Urban Project

Helpern Architects

1999-2000

New York City, USA

Marble Collegiate Renovation & Addition Davies Mansion, Yale University Renovation & Addition Columbia Low Library Renovation Carnegie Hall Studios Renovation & Addition

New York City, USA

BUILT

New Haven CT, USA

BUILT

New York City, USA New York City, USA

U: URBAN / A: ARCHITECTURE / I: INTERIOR / L: LANDSCAPE / E: ENGINEERING COORDINATION

PADx France PAD10 Kuwait PAD7 Lebanon

Paris Kuwait City Beirut

Sharq Mar Mikhayel

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

75010 Paris Al Tujjar Building II Risveglio Bldg

3rd Floor 7th Floor

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

www.pad10.com

F +965 222 85 901 E info@pad10.com

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497

CREDENTIALS

LECTURES 2021 2019 2017

Adaptable Housing // Estudio Beirute, ISCTE, PFA Promoting Research Workshop at Kuwait University Architectural Association (AA) visiting school

Beirut, LEBANON Lisbon, PORTUGAL Kuwait City, KUWAIT

2017 2016 2016 2015 2015

TEDxUniversityOfBalamand “the Boom” in Kuwait, debate at Dar Al Athar Al Islamiyya Lecture at Benchmark 16 Forum at Al-Shaheed Park Lecture on Retooling Pearl Marzouq at National Council for Culture Arts and Letters Workshop on Kuwait’s Modern Heritage, organized by Docomomo International and Docomomo Kuwait PAD to the power 10, Tafaseel Exhibition by AIAS Lecture at 2nd Annual Marketing Forum at Australian College of Kuwait Lecture at YourAOK on Architectural Research and Diagramming “24 Hour Program on the Concept of Time” at the Guggenheim Museum Harvard Design School, part of the MENA conference “Thinking Metropolis” Temporary Spaces, Places, & Mobile Structures Public Spaces Along Waterfront Cities (The North Sea Area, Lisbon, Venice, and the Lebanese coastline) “Re-Thinking Beirut”, with Stefano Boeri at La Triennale International Symposium of Architecture Leftishism summer lecture series, Columbia University GSAPP Leftishist lecture Squatville, Artists Space Recent Work Lecture, Alvar Aalto’s Nordic House “Three Houses”, Young Architects Forum lecture, The Architectural League of New York, Urban Center

Kuwait City, KUWAIT

2015 2015 2013 2008 2008 2008 2008 2007 2006 2006 2005 2004 2003 2002

Beirut, LEBANON Kuwait City, KUWAIT Kuwait City, KUWAIT Kuwait City, KUWAIT Kuwait City, KUWAIT Kuwait City, KUWAIT Kuwait City, KUWAIT New York City, USA Boston, USA Copenhagen, DENMARK Milan, ITALY Milan, ITALY Monterey, MEXICO New York City, USA Oslo, NORWAY New York City, USA Reykjavik, ICELAND New York City, USA

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

2002 2002 1996

Post (war) Cards, Centre Canadien d’Architecture “Threesome”, Philadelphia University School of Architecture “Reconstruction of War-stricken Cities”

Montreal, CANADA Philadelphia, USA Aarhus, DENMARK

EXHIBITIONS 2022 2016

Tafaseel Exhibition Time and Motion “Between East and West: a Gulf”, Kuwait Pavilion at the 2016 Venice Biennale Reporting from the Front PAD to the power 10, Tafaseel Exhibition by AIAS MoMA/PS1 Young Architects Program. Finalist “Tourism: Spaces of Fiction”: Offshore Urbanism at The Design Museum Barcelona, Spain “City of Expiration and Regeneration”: Offshore Urbanism at Shenzhen-Hong Kong Biennale Re-Thinking Beirut Exhibition Milan, Italy Squatville, Artists Space Solo Exhibition, NYC Fill in the Blank, RISD School of Architecture, Bebb Hall Young Architects Forum Award, The Architectural League of New York Odd Side of Broadway – Parsons School of Design, NYC LEFTishtalkondiscourse – Storefront for Art & Architecture, NYC Architecture + Water (video production for LTL) – Van Alen Institute, NYC Refiled (Lewis-Tsurumaki-Lewis) Design Triennial, Cooper-Hewitt Hilarious Beirut (Atelier Hapsitus) Bartlett School, London Technische Universität, Berlin Venice University, Venice Simultaneous Project (Atelier Hapsitus) British Consulate, Beirut. Project Assistant PCB137 (atelier Hapsitus) Manes Bridge, Prague. Project Architect Korea National Museum (Atelier Hapsitus) Venice Biennale. Senior Designer The National Library final project – Solidere, Lebanon

2015 2009 2008 2008 2007 2004 2003 2002 2002 2001 2001 2000 1997-8 1997-8 1997-8 1998 1997 1996 1996

Kuwait, KUWAIT Venice, ITALY Kuwait City, KUWAIT New York City, USA Barcelona, SPAIN Shenzen, CHINA Hong Kong, CHINA Milan, ITALY New York City, USA Rhode Island, USA New York City, USA New York City, USA New York City, USA New York City, USA New York City, USA London, UK Berlin, GERMANY Venice, ITALY Beirut, LEBANON Prague, CZECH REPUBLIC Seoul, SOUTH KOREA 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

PADx France PAD10 Kuwait PAD7 Lebanon

Paris Kuwait City Beirut

Sharq Mar Mikhayel

208 Rue St Maur Khalid Ibn Al Waleed Street Nicholas Turk Street 3 of 5 pages

75010 Paris Al Tujjar Building II Risveglio Bldg

3rd Floor 7th Floor

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

www.pad10.com

F +965 222 85 901 E info@pad10.com

RESUME

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

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

ACADEMIC 2017-2009 2008 2008 2007 2007

Studio critic for final projects at Kuwait University Studio critic for PennDesignThird-Year Graduate Advanced Architectural Design Studio Studio critic for Rensselaer (RPI) School of Architecture Guest critic for final reviews, REX, Yale University 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 Studio critic and seminar instructor for Cornell Architecture School visiting faculty spring 2006 Jury member for NYFA (New York Foundation for the Arts) Architecture/ Environmental Structures Jury member for Young Architects Forum at the Architectural League, New York Guest Critic for Mid & Final reviews, Peter Cook, Columbia GSAPP Guest Critic for M’Arch final projects, Cornell University Guest Critic for Douglas Gaultier, Parsons Guest Critic for Mark Tsurumaki (Lewis.Tsurumaki.Lewis), Parsons Guest Critic for Eric Bunge (nArchitects), Parsons

2006 2006 2006 2006 2006 2005 2003 2002

Kuwait City, KUWAIT Philadelphia, USA Rensselear NY, USA New Haven CT, USA Beirut, LEBANON

Ithaca NY, USA New York City, USA New York City, USA New York City, USA Ithaca NY, USA New York City, USA New York City, USA New York City, USA

HONORS AND AWARDS Architects in Residence – 100 Architects for 100 Houses, Royal Commission for AlUla. Shortlisted/Awarded. AIA Merit Award for Baraka Chalet Certificate of Honor North Design Union HQ, China Shortlisted Phase 2 - KFAS International Competition; Phase-Eins Berlin AIA Architecture and Interior Honor Awards for WTC Memorial Museum AIA Presidential Citation Sep. 11 Memorial Museum Emerging Voices by the Architectural League of New York AIA New York State Design Award for Valeo SP Finalist for Pamphlet Architecture 28 for DisOrientalism

2022 2020 2019 2019 2013 2012 2010 2007 2006 PADx France PAD10 Kuwait PAD7 Lebanon

Paris Kuwait City Beirut

Sharq Mar Mikhayel

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

75010 Paris Al Tujjar Building II Risveglio Bldg

3rd Floor 7th Floor

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

www.pad10.com

F +965 222 85 901 E info@pad10.com

4 of 5 pages

499

CREDENTIALS

2005

Honor Award for AIA New York Chapter Design Awards 2005 for Human Rights in China Design Winner of the AIA First Honorable Mention for International Competition Center for Architecture, Prague Winner of the Arab Cultural Center vision competition organized by Mosaic Foundation AIA New York Chapter Design Award for HRIC Winner of the Young Architect Forum award (Architectural League, NY) Shinkenchiku Japan Architect (JA) honorable mention Areen Award for Excellence in Design

2005 2005 2003 2002 2001 1996

PROFESSIONAL AFFILIATIONS 1997 2006 2011 2022

Registered Architect at the Order of Engineers and Architects Lebanon #20678 Associate AIA # 38661515 , NCARB # 98244 Registered Architect at the Kuwait Society of Engineers #21767 Registered at the Order of Architects, France #090451

PORTFOLIO Portfolio & Website

PADx France PAD10 Kuwait PAD7 Lebanon

Paris Kuwait City Beirut

https://linktr.ee/pad10

Sharq Mar Mikhayel

208 Rue St Maur Khalid Ibn Al Waleed Street Nicholas Turk Street 5 of 5 pages

500

75010 Paris Al Tujjar Building II Risveglio Bldg

3rd Floor 7th Floor

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

www.pad10.com

F +965 222 85 901 E info@pad10.com

AWARDS

501

CREDENTIALS

502

AWARDS

503

CREDENTIALS

Naji Moujaes PAD10 Architects AIR-4982 By email only 8 August 2022

Dear Naji Moujaes

CONFIDENTIAL: ARCHITECTS IN RESIDENCE – 100 ARCHITECTS FOR 100 HOUSES On behalf of the Royal Commission for AlUla (RCU), I would like to thank your team for taking part in the Architects in 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 in March. The competition jury met over three days in April to review all submissions; the client has been undertaking a formal ratification process of the result in 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 to the competition, including your submission, confidential as per the terms of your NDA with RCU and the Declaration Form submitted during stage two. In due course, the client may make a formal announcement regarding the competition, including the 100 winners. Any future use of competition material for publicity purposes is subject to permission granted in writing from the client; such requests will only be considered after any formal announcement.

504

AWARDS

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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 your 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 Participants' colloquium Stage 2 in Kuwait Submission of entries Stage 2

August 16 to 30, 2018 September 4, 2018 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

505

CREDENTIALS

506

AWARDS

507

CREDENTIALS

508

AWARDS

509

PAD10 SPECIALIZATION SPHERES AND PAST COLLABORATIONS

Cultural Pamphlet Kulture Files Cultural Events Calendar

Websites Social Media Copy Writing Company Profiles Magazines Engineering Consultants Contractors

Local Consultants

Architecture

International Consultants

Urban Design

Exhibitions & Interiors Contractors

Landscaping

Horticulturalist

Furniture Design Interior Design Exhibition Design

Printing Press

Product Design Press Design Reused Matter

Print Matter Graphic Design Logo Design Web Design Web Development

Outdoor Media Print Media

Branding Corporate Identity Advertising Marketing Plan

PAD10 Specialization Spheres and Past Collaborations

510

Advertising Agencies

Social Media

STRUCTURE AND WORK PROCESS DIAGRAM

Structure and Work Process Diagram

511

STAFF CHART + PAD10 SET UP

WORKFLOW

Intermed. Architect

3D Vislzr/ CAD DRFT.

Project Coordinator

Design Architect

Interior Architect

Site Engineer

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

Web Designer

Web Developer

Interior Architect

MEP Engineer

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

BRANDING / GRAPHIC DESIGN

CREATIVE DIRECTOR

STUDIO MANAGER

Assist. Manager

Accountant

Art Director Model Maker Graphic Designer Janitor Graphic Designer Messenger

Staff Chart

512

PROJECT MANAGEMENT

Document Controller

Design Architect

WEB MEDIA

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.

PRINCIPAL ARCHITECT

ADMINISTRATIVE

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.

ARCHITECTURE

PAD10 IT SETUP

3D PRINTING

3D INTEGRATION 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.

513

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

514

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

CREDITS

OFFSHORE URBANISM COASTLINE, LEBANON Credits: Partner-in-Charge: Naji Moujaes. Team: Jasmin Behzadi, Fumio Hirakawa, Ziad Jamaleddine, Makram el Kadi, Salim al Kadi

SEASIDE QUARTET SEA CITY MARINA, KUWAIT Credits: Partner-in-Charge: Naji Moujaes. Team: Kholoud Salman, Raymund Yadao

GULF REAL ESTATE COMPANY HEAD OFFICE SHARQ, KUWAIT CITY 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

HUMAN RIGHTS IN CHINA (HRIC( NEW YORK CITY, USA Credits: Davis Brody Bond, New York-USA. Design Architect: Naji Moujaes

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

KAZMA CLUB DEVELOPMENT PROJECT ADAILIYA, KUWAIT Partner-in-Charge: Naji Moujaes. Team: Mohammad Nizamuddin, Raymund Yadao

TERMINAL CITY DUBAI, UAE Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

Z-COMMERCE PARK SALMIYA, KUWAIT Partner-in-Charge: Naji Moujaes. Team: Michael Gebrine, Nirvana Kobeissi, Raymund Yadao

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

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

SAMOVAR CARPETS & ANTIQUES CITYWALK, DUBAI Credits: Naji Moujaes. Team: Mohammad Nizamuddin, Raymund Yadao

MUY.BRARY WALL SALMIYA - KUWAIT Credits: Partner-in-Charge: Naji Moujaes. Team: Kawther al Saffar, Raymund Yadao

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

PAD TO THE POWER 10 - EXHIBITION STAND KUWAIT CITY Credits: Partner-in-Charge: Naji Moujaes. Team: Raymund Yadao

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

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

SQUATVILLE EXHIBITION ARTISTS SPACE NEW YORK CITY, USA Credits: Ziad Jamaleddine, Makram el Kadi, Naji Moujaes

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

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

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