RASEM KAMAL 2009 - 2017
Contents 7
Biography
Academic Projects 8
Wadi Rum Excavated Sanctuaries, 2014
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Bacardi Headquarters, 2014
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UNICLO Flagship + Headquarters, 2013
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Ain Ghazal Interpretation Park, 2009
Independent Projects 82
Madafa Pavilion, 2016
Professional Projects 100
Oasis 500 IT Incubators, 2010
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The Carved House, 2013
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The Alpine Oasis, 2015
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Kaunas Science Museum, 2016
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Rüti Kindergarten, 2017
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Ayla Golf Academy + Clubhouse, 2015 - 2017
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Credits
Rasem Kamal is a Jordanian architect, designer and Fulbright fellow. He holds a Masters of Architecture degree from Rice University in Houston, and a Bachelors of Architectural Engineering from the University of Jordan. At the Rice School of Architecture, Rasem was awarded the AIA Henry Adams Certificate in 2015, honoring his scholastic achievement and promise of professional ability. His successful architectural thesis project – Wadi Rum Excavated Sanctuaries earned a local and international recognition. Prior to joining Oppenheim Architecture, Rasem worked at WW Architecture with Sarah Whiting and Ron Witte in Houston, SOM in San Francisco, Symbiosis Designs in Amman and AS. Architecture-Studio in Paris. His international professional experience offered him the opportunity to work on a diverse range of projects and typologies in New York, Miami, San Francisco, Houston, Switzerland, Europe and the Middle East. Currently, Rasem lives and works in Basel after working previously at the Miami studio of Oppenheim Architecture..
01 Wadi Rum Excavated Sanctuaries M.Arch III thesis project Rice School of Architecture Director: Carlos JimĂŠnez Year: 2014 Area: 180,000 sq.m Location: Wadi Rum, Jordan Phase: Analysis, concept Program: Hotel suites, spa, auditorium interpretive museum, train stop
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This project represents the architectural product of a thesis that focuses on subtraction not addition, subtracting voids and spatial volumes according to users’ need of functions, circulation and natural light. These voids could be excavated in the natural ground in order to create a concealed and non-distracting architectural presence above ground, along with an unlimited flexibility to subtract underground. The motivation behind this subject in particular was based on a debate related to the relationship between external form and internal space. Lately, a great many of prominent architectural practices have been focusing on developing dynamic forms, new building materials, sophisticated details and tectonics as well, while only the minority of these contributes to their internal spaces. Consequently, this thesis aimed to flip the relationship between the explicit and implicit, by diminishing the power of external form along with exploiting all the previous efforts that were used for it to subtract spaces where we will live, experience and enjoy.
Wadi Rum, or valley of the moon, is a vast empty desert in south of Jordan, surrounded by series of fascinating colorful mountains. The selection of this site in particular was for two key reasons; it is an ideal location to excavate natural ground with a high flexibility of horizontal expansion. Furthermore, this site needs a very minimal and sensitive intervention -since it was declared a world protected site by UNESCO in -2011 without adding a new structure above ground that might compete with the existing mountains and distract the visitors of Wadi Rum visually.
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The excavated courtyards Within the mountains of Wadi Rum (Rendering by: Rasem Kamal)
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The design concept was based on excavating a series of fragmented yet interconnected courtyards which remained exposed to the sky despite being under the sand‘s datum line. These courtyards control all the hotel rooms and museum halls around them in addition to the underground circulation network of ramps and the service loop, but with variations in volumetric experience and lighting quality in each one, because every courtyard was subtracted according to its surrounding functions, circulation’s requirements with distances being set according to a network of convenient ramps, topography, orientations towards site views and intensity of natural light.
Left: The perimeter of subtracted volumes Right: Programmatic slicing
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Throughout natural and architectural history, there were various precedents ranging from the scale of ants’ colony nests to underground museums. Primarily, the first influence was ants ‘colony nests, where ants subtract their chambers in an organic layout according to needed volumes only, linking them with unexpected circulation routes. However, the challenge of thesis was to experiment excavation in more complex programs - (a train sub-station, an interpretive museum and a sanctuary hotel) as a response for Rum Valley needs; in order to exploit all the opportunities provided by building underground, unrestricted horizontal expansion along with a new definition for building slabs, walls, and maneuvering between spaces by a network of convenient ramps.
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Left: Inspiration - Ants colony nest Right: Site plan
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Left: Floor plans (Back of the house to spa level) Right: General site plan
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Left: The project operating during different seasons of sand storms (The use of excavation grid) Right: Excavating courtyards (Following existing topography)
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As a design strategy, and because of the fact that this project could not be narrated by conventional longitudinal or cross sections, the whole underground structure were sliced into a consequence of repetitive sections in order to study relationship of the hotel with the museum’s functions, the courtyards with their surrounding chambers, the courtyards with the circulation or service network, and finally the relationship of all the previous elements with the changing datum line of sand. These “Excavated Sanctuaries” announce themselves from their interior not exterior, in other words, this is a new redefinition of the modernists’ phrase “form follows function” into “subtraction follows function”.
Plan enlargements (Hotel rooms and courtyards)
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Left: Entry ramp of the reception courtyard Right: View from the spa Jacuzzi (Renderings by: Rasem Kamal)
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Above: 145 Section slices Below: Wall sections (Relationship to sand datum line)
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Left: Physical model slices Right: Physical model (60 x 30 cm)
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Above: Longitudinal section - The entry Below: Manipulated longitudinal section
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Left: The ramp of the entry courtyard Right: Hotel excavated courtyard (Renderings by: Rasem Kamal)
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Left: Enlargements for the museum circulation tubes Right: Enlargements for the rooms prototypes and the spa
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Physical model for an excavated courtyard (60 x 30 cm) (40 stacked horizontal slices of wood)
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02 Bacardi Headquarters Spring 2014 studio Rice School of Architecture Professor: Ron Witte Year: 2014 Area: 14,000 sq.m Location: Bermuda British Territory Phase: Analysis, concept Program: Offices, conference rooms, event space, fabrication zone
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Looking at Bacardi as a brand, it has the most literal process of mass-production compared with other brands; mass production as a repetition of the same product million times each day. On the other hand, Bacardi was always trying to have a mass projection reflecting their fancy image to the community and their audience, using also a repetition but here with variable images. Throughout the architectural history of Bacardi, their buildings always projected fancy images, delivered refined messages from their exterior, ranging from artistic façades, sculptural forms and ornamented patterns. However, none of these buildings were projecting Bacardi’s real corporate identity or the nature of their banal internal functions, which are offices and fabrication. The design ambition was to flip this relationship between exterior and interior on one hand, exterior and audience on the other hand, this will be achieved by projecting neutral and banal message from the exterior, while the interior will condense all the projections of identity, history, family and success
Left: Architectural timeline Right: Grid deformation (Scale vs. program)
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Furthermore, there would be a redefinition of neutrality, which has its own zone in the middle of scaling up and down of repetitive elements within a variable grid order. Based on the notion of mass-production and repetition, the project functions can be flattened on one level instead of having multiple stacked levels. This expanded-horizontally building will be floating on Bermuda Island, this thinness will contribute to the notion of banal and austere perception from the exterior. The program’s functions were re-classified in a different way according to their repetitive identity.
Razor diagram (Program distribution according to scale, repetition and density)
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View from the North Atlantic Ocean (Rendering by: Rasem Kamal)
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Left: Exploded isometric Right: Floor plan perspective
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Sequence of sections (Narrating spacial experience)
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Physical model for the floor plan (70 x 70 cm)
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03 UNICLO Flagship + Headquarters Fall 2013 totalization studio Rice School of Architecture Professor: Mark Wamble Year: 2013 Area: 7,000 sq.m Location: Manhattan, New York Phase: Concept, design development Structural consultant: Robert Silman Associates MEP consultant: Buro Happold Faรงade consultant: Heintges & Associates, NY Program: Retail space, offices theatre halls, restaurant
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The “Broken Case” was based on “The Tjibaou Cultural Centre” as a structural case study, designed by Renzo Piano in New Caledonia. The egg-like structures in this project were called “The Cases”, while each case was created by a repetition of double-rib sections on a circular plan, to end-up by a double-shell structure that could support itself independently even without being braced by slabs. Cases are distinguished by including a huge number of steel pieces that can be easily mass-produced. The structural transformation aimed to fit the case into site and fulfill all the program requirements as well. The case were broken to have four free standing curves, but unlike the original case study and instead of having only one type of double-rib sections, three different types were introduced in response to many functional and structural issues.
Structural analysis (4,300 Steel Members)
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One of the new types of the double-rib sections were totally vertical, in order to accommodate all functions that require continuous verticality like stairs, elevators and MEP services, while the others were inclined with point connections to the ground. Because there was no longer a continuous circle in the planning, the curves were braced using two types of slabbracing depending on the function at each zone in the tower. The curves were braced with intermediate slabs and located to be almost perpendicular to support each other. The required functional program was distributed vertically along the tower beginning with “UNICLO� retail spaces at the lower levels, offices and meeting spaces at the middle, event space and a small private auditorium, ending with a boutique restaurant overlooking a fabulous panoramic view of the Flatiron zone.
Left: The glass envelope strategy Right: Sectional isometric
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Physical model for the structure (30 x 20 x 60cm)
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Left: Cross section Right: Typical floor plans
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Left: Details (Toggle glass structure) Right: Facade detail (Rendering by: Rasem Kamal)
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04 Ain Ghazal Interpretation Park Undergraduate thesis project The University of Jordan Director: Leen Fakhoury Year: 2009 Area: 40,000 sq.m Location: Amman, Jordan Phase: Analysis, concept Program: Interpretation center, shelters, treatment plant, cinema halls
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How to make a new beginning in East Amman? Ain Ghazal is a very strategic location that has so far kept East of Amman intact, an expansion zone that enables Amman city to modernize itself constantly; in order to make the tactical adjustments, necessary boundaries and nodes had to be identified. It is a theatre of progress that cradles diverse elements and most importantly archeological ruins which belongs to 7250BC. Because Ain Ghazal is the Old World, the Cradle of history�, there is an unspoken common assumption that all its substance mediocre is historic, and therefore has a right to eternal life. The idea of starting from scratch is literally unthinkable; in fact, such a renewal just resumes the perpetual cycle of construction, deconstruction and reconstruction that has been suspended out of fear of superimposition.
Center: Keywords - Brainstorming Right: Archeological grid - Nodes
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The key objectives were to make Amman an important cultural city; by widening knowledge of the historical settlements and landmarks in the area, and awakening the memories of the historical layers of the site through an interpretation of its archeology. In addition, it aimed to preserve Ain Ghazal zone as an important archeological site by sheltering its fields and managing visitors’ experience. Moreover this urban bridge re-links East and west of Amman on the macro scale, also Marka and Tarek districts on the micro scale. The theoretical omnipresence of the grid does not imply a homogeneous density: it will organize the coexistence of solid and void, density versus emptiness. Around certain injections, this proposed grid will allow different intensification where the highway will become almost incidental, just one of its orthogonal coordinates.
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The theoretical omnipresence of the grid does not imply a homogeneous density: it will organize the coexistence of solid and void, density versus emptiness. Around certain injections, this proposed grid will allow different intensification where the highway will become almost incidental, just one of its orthogonal coordinates. Furthermore, the project would mainly be concentrated on the banks becoming irrevocable linear, with a mass of program distributed along one kilometer long link perpendicular to the stream; the impact would be diluted literally. Finally, it is worth mentioning that Ain Ghazal Interpretation Park could be considered as a bridge to history that may never be built, but its award-winning design makes a statement about our authentic heritage, community and also Jordanian architecture.
Ain Ghazal archeology Neolithic structures and fields Human clay statues
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Left: General site map Right: Site plan vs. Program (Sectional isometric)
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Physical model for the urban link (100 x 25 cm)
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Left: Al-Hijaz sub-terminal Right: The south field shelter (Renderings by: Rasem Kamal)
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Floor plans (Three horizontal slices) Approach - Interpretation - Shelters
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Above: Cross section - The archeological park Below: Longitudinal section - The urban link
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Left: The neolithic network hall Right: The statues hall (Renderings by: Rasem Kamal)
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Technical details (The archeological dig)
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05 Madafa Pavilion With (Saja Nashashibi) at Amman Design Week 2016 Curators: Arini Year: 2016 Area: 300 sq.m Location: Amman, Jordan Program: Food containers, gathering space, seating areas Lighting consultant: ICC Phase: Analysis, concept, development, construction
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Madafa was developed for Amman Design Week 2016 to enhance the surrounding landscape and envisioned for being a spot of exposition. The pavilion is a modern interpretation of the Madafa, a traditional Jordanian space that is built to entertain, host and feed the guests during their visits. The rich narrative of the Madafa inevitably encouraged users to explore parallels with contemporary architecture as it was created as place of gathering through hosting a series of cultural events and live music. Encompassed within the Madafa, three shipping containers were repurposed within the promenade to host a set of local restaurants and cafes. Standing free with all their sides visible, the containers are an integral part of a steel grid modular enclosure. Creating a presence in the pathway that changes as you move around it and through it, the pavilion became a scene set against the backdrop of Amman’s mountains.
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Left: Traditional trays diagram Right: Exploded isometric
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Amman Design Week aims to be an annual event that celebrates talent and experimentation with the intent of encouraging the growth and proliferation of the design sector in Jordan, in an environment that stimulates learning and innovation. Supported by Her Majesty Queen Rania Al Abdullah, Amman Design Week piloted in September 2016, creating a platform that will bolster Jordan’s design sector and move it toward international recognition and acknowledgment.
Left: Rustic (2 x 2 cm) steel tubes Right: One hour before the opening (Photos by: Ahmed Aqraa)
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The grid modular system enclosure was built using weathered steel tubes and joints. The solution was implemented to showcase the beautiful backdrop which is the complex and layered mountains of Amman. The modular system also permitted the pavilion to be permeable while creating a definition for the space. The structure was made of 7 tons of steel, 1,020 steel cubes and 21,000 washers and screws. The pavilion was built in 6 days due to the special nature of the location.
Left: Traditional pattern diagram Right: Plans - Different levels
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Lightning and shadow played major part in the experiencing of Madafa. At night visitors moved throughout the space as it fades into darkness due to the washed lighting effect which illuminated the lower surfaces. On the other hand, during the day, visitors enjoyed the dramatic and transformative play of shadows as the sun rendered different architectural patterns throughout the day.
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Various patterns of shadows )Photos by: Rasem Kamal(
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Left: The traditional tray Right: View within Amman mountains (Photos by: Ahmed Ahed)
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Conceptual rendering for the structural grid (15 x 45 Physical model)
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The atmosphere of Madafa at night (Photos by: Rasem Kamal)
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Left: Tables prototypes + Waste basket detail Right: Food containers (Technical drawings)
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06 Oasis 500 IT Incubators With (Symbiosis Designs) Year: 2010 Area: 3,500 sq.m Location: Amman, Jordan Phase: Invited competition Program: Conference rooms, multi-functional space, outdoor terrace offices, entertainment space Team number: 5 Role: Diagrams, plans, renderings
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Oasis 500 is a proposed addition to an existing building at the King Hussein Park in Amman, it is a liberated openended space, reclaiming an intuitive space within rational offices and conference rooms’ layout; hence impelling distinctive innovation and conception. In this proposal, there is a very serious attempt to access many aspects of our lives that are not accessible by our known senses of smell, sight, touch, sound or even conscious thinking. It is a dialogue between two diverse polarities in contrasting tension; an environment that is necessary for the creative act which involves at one end fluid thinking, while on the other one, the methodical and rational state.
Deformation of existing grid (Dynamic vs. rational)
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The design intent was to transform the internal courtyard into a dynamic landscape of folds that articulate the interactive functions, which were embedded between all the folding surfaces. All these surfaces were designed as a sequence of geometric subdivisions and transformations applied to the grid of equilateral triangles, the emerging space between these surfaces manifests in the increased continuity despite its enveloped fragmentation. The dynamic playful character of the surfaces extends from the floor to the wall reaching the ceiling, to create an extremely unconventional space. Also, many of the spatial relationships located at the central space were a direct abstract mapping of the folding geometry. As a result, the choreography of these surfaces and the functions which became interwoven as one integrated biomorphic entity.
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Ground floor plan (The intuitive middle space)
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Conceptual renderings for the intuitive space (20 x 20 Physical model)
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Left above: Longitudinal section Left below: Cross section - The offices Right: Exploded isometric
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07 The Carved House With (Symbiosis Designs) Year: 2013 Area: 1,100 sq.m Location: Dead Sea, Jordan Program: Three bedrooms retirement house Phase: Analysis, concept Team number: 4 Role: Main concept, diagrams, technical drawings, renderings
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Located on a hill overlooking the magical view of the Dead Sea, this small house will be a podium for contemplation and relaxation within nature. All the features including doors, openings and inner zones were subtracted from the original stone volume, in order to have cavelike zones inside, in addition to the seamless look by having only one consistent material everywhere. The carving concept was pushed to its limit, using authentic rough Jerusalem stone that will be smooth in the carved surfaces; in order to emphasize the language of subtracting that was very organic to conceal the original module of planning.
The punches in the stone were developed to be not only conventional openings, but also skylights, niches and caves of water, even the main stair was carved as a sculpture of stone to be the main feature near the entrance. The main punch was an outdoor courtyard that was located at the heart of the house with a sculptural maple tree. Furthermore, the story of water begins from the main entrance, where visitors experience that while walking over minimal stepping stones.
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The water also continues in front of the courtyard at the middle, and it will end at the Jacuzzi of the master bedroom, which was designed as a serene cave of water overlooking the panoramic view of the Dead Sea. The luxury of this house was translated in its simplicity, serenity, minimalistic approach and the combination between natural light and the natural Jerusalem stone.
Left: Isometrics diagram Right above: Ground floor plan Right below: Basement floor plan
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Left: The living room Right: The carved stair (Renderings by: Rasem Kamal)
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Left: Longitudinal sections Right: Cross sections
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View from the Jacuzzi of the master bedroom (Rendering by: Rasem Kamal)
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08 The Alpine Oasis With (Oppenheim Architecture) (Confidential) Year: 2015 Area: 2,000 sq.m Location: Schaan, Liechtenstein Program: Three bedrooms, living areas entertainment zone, 8 cars garage Landscape: Enea Structural engineer: Gruner AG Construction Management: ECAS MEP consultant: OSPELT Renderings: MIR. Phase: Design development Team number: 6 Role: Volumetric study, wall sections, development of plans, materials selection
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Winter view for the house (Rendering by: MIR.)
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09 Kaunas Science Museum With (Oppenheim Architecture) Year: 2016 Area: 11,000 sq.m Location: Kaunas, Lithuania Program: Machines gallery, temporary galleries, planetarium, souvenirs shop Phase: Open competition Team number: 5 Role: Main concept, zoning, technical sections
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The science park overlooking the city View under the floating museum (Rendering by: Rasem Kamal)
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Aligned with the city’s plans to create further links and developments around the park, the project capitalizes on the exciting opportunity to become the actual urban link, the connector for all the main axes of Kaunas. It is an architecture which can serve as an integrated icon, integrate within the existing context, and become a ‘good resident’ in the park The science museum fulfils these requirements as it leaves an impression on the visitor with its sweeping facades, reflecting the surrounding city, landscape and sky.
General site map (Uban connections diagram)
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The floating galleries and underground spaces allow for %100 public access to the ground plan avoiding the interruption of the park as well as instilling curiosity in passersby. The concept ties the external existing nature of the site to the internal program of the center. Lookouts from within the floating galleries reframe familiar sceneries, allowing Kaunas exciting views to emerge as they have never been experienced before. Furthermore, the extended landscape design proposal enhances integration between nature and science, drawing visitors to interact directly with their novel environment around.
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Left: First floor plan Right: Linear experience (Unfolded conventional layout)
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Left above: Cross section Left below: Longitudinal section Right: Various cross sections (Function vs. profile)
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10 RĂźti Kindergarten With (Oppenheim Architecture) Year: 2017 Area: 2,100 sq.m Location: RĂźti, Switzerland Program: Daycare, classrooms, teachers zone, playgrounds, eating area Landscape consultant: Enea Phase: Open competition Team number: 4 Role: Main concept, volumetric study, coordination with Landscape consultant, coordination with the model maker
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The overall concept of the kindergarten focuses on giving back to the campus and context; a floating garden where kids will farm their own fruits and vegetables, with having an awareness to nature. Located on the top of the hill, the building fits smoothly into the landscape, without being imposed on the adjacent context. The floating roof, with its green roof garden, becomes a sustainable and educational space used by the kindergarten kids and the other school students as well. The required program diagram was bent in order to create an inner courtyard that accommodates all the required playgrounds, with a transparent faรงade that opens to the outside. On the other hand, the deep canopies of the floating roof protect against the weather in addition to defining the organic and playful shape of the courtyard.
Left: Programmatic analysis Right: Conceptual strategies
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Left: Site plan within context Right: Ground floor plan
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The floating garden View for the Eastern elevation (Rendering by: Rasem Kamal)
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Left above: Elevations Left below: Sections Right: Section detail - Classroom
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Left: View for the approach Right: The courtyard - Kids playground (Renderings by: Rasem Kamal)
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Physical model for the kindergarten (60 x 60 cm)
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Winter view for the Southern elevation Kids sliding on the hill (Rendering by: Rasem Kamal)
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10 Ayla Golf Academy + Clubhouse With (Oppenheim Architecture) Year: 2015 - 2017 Area: 6,000 sq.m Location: Aqaba, Jordan Program: Golf academy, comfort stations offices, restaurant, souvenirs shop Golf consultant: Greg Norman Landscape: Form Landscape Architects Structural engineer: WMM Ingenieure AG Shotcrete consultant: Daniel Merz AG Lighting design: Viabizzuno Phase: Construction administration Team number: 4 Role: Coordination with client + consultants, reviewing shop drawings by contractor
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Taking the desert dunes, raw mountains and ancient Bedouin traditions as primary design influences, the architecture of the Ayla Golf Club and Golf Academy are sure to become iconic symbols of the Ayla property development. The sand dunes as a design influence was followed closely throughout the concept development phase. Once programmatic elements were modeled spatially based on specific client requirements, an editable “blanket� mesh was laid over the top, enveloping each independent area, and creating the distinctly unique architectural shells.
Comprised of residential, hotel, and commercial space, the overall Ayla development will be centered on an 18 - hole Greg Norman designed golf course in Jordan of which the Ayla Golf Club and Ayla Golf Academy will be centerpieces. Once completed, the Ayla Golf Club will contain a large retail pro-shop, dinning, bar and lounge spaces, banquet/meeting rooms, as well as fitness and spa areas. The Ayla Golf Academy will be comprised of a retail pro-shop, casual indoor/outdoor dining, as well as high-tech swing analysis and practice studios.
Bringing the shells from computergenerated models to the built environment was achieved through a process of individual sectional cuts, which were built on site first with flexible thin gauge steel ribbons, and then adding re-enforcing bars and an outer mesh. To achieve the raw, un-adorned look, it was decided that shotcrete would serve as the final shell finish, at both the interior and exterior.
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Ayla is a community dedicated to sustainable design, protecting and enhancing its natural environment. Setting the benchmark for large scale renewable energy in the region, a 5.8 megawatt solar plant powers the maintenance of the waterways and golf courses. The Golf Academy approaches sustainability through intelligent passive design. The building is orientated North-South to take advantage of the prevailing Northern winds. It has open air lobby and circulation areas, allowing them to benefit from healthier and more effective natural cross-ventilation throughout, hence reducing the volume of internal air conditioned spaces. Other spaces have insulated roofs and cavity walls utilizing the building’s thermal mass and reducing cooling loads. The windows are double glazed and further sheltered by shading screens, and deep overhangs.
Left: Form evolution - Sand dunes Right: Materials and color palette (Influenced by the mountains of Jordan)
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Warm Shotcrete
Corten Steel
Burnished Brass
Antique Brass
Mountains of Jordan
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The comfort station Mock-up for the shotcrete testing (Photos by: Rasem Kamal)
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20 Structural section cuts (For construction - Comfort station)
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Left: Corten steel screen details Right: The oriental pattern - Comfort station (Photo by: Rasem Kamal)
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Physical model for the shell (3D printed - 30 x 10 cm)
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Left: Cross section - The Clubhouse Right: Front elevation - The Clubhouse
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Above: Shell + wall structural sections Below: (1 x 1m) Grid of construction points
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The Golf Academy building Construction site photos (Photos by: ACPM)
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The Golf Academy building (Under construction) Steel bracing before shotcrete spraying (Photos by: ACPM)
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Left: The reception space Right: Framing the Aqaba mountains (Renderings by: MIR.)
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Left: Glazing details Right: Screens + glazing elevations
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The main restaurant The Clubhouse building (Rendering by: MIR.)
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Credits
Credits
Ain Ghazal Interpretation Park
The Alpine Oasis
Heba Najada
Chad Oppenheim
Yousef Zaki
Beat Huesler
Leen Fakhoury
Hyejin Yang
Rasem Kamal
Raphael de la Fontaine Jose Marin Vela
Madafa Pavilion
Rasem Kamal
Saja Nashashibi Liyan Jabi
Kaunas Science Museum
Mohamed Jabi
Beat Huesler
Heba Najada
Raphael de la Fontaine
Esam Jabi
Anthony Cerasoli
Jafar Jabi
Aleksandra Melion
Rasem Kamal
Rasem Kamal
Oasis 500 IT Incubators
RĂźti Kindergarten
Khalid Nahhas
Beat Huesler
Ramiz Ayoub
Aleksandra Melion
Abdel Qader Tarabieh
Andrew Dadds
Dima Bilbaisi
Rasem Kamal
Rasem Kamal Ayla Golf Academy + Clubhouse The Carved House
Chad Oppenheim
Khalid Nahhas
Beat Huesler
Ramiz Ayoub
Aleksandra Melion
Dina Haddadin
Anthony Cerasoli
Rasem Kamal
Rasem Kamal