My Portfolio, Selected Works
Elah Abu Omar Architecture BSc
Rain becomes a distinct entity through phenomenology, which depends on the situation in which it rains. When Husserl says that “knowing is not a representation of something that is real but the presentation of something that appears, ”this also includes the social situation in which this process of appearing takes place. (Reynolds, 1999) While I was standing in Reading Station, I was part of a network of relationships between me and people, me and things, and among the things themselves. The “nodes” in this network, the middle-aged man, his umbrella, and the plants that are about to bloom are all related. When I see rain, much of what it can become is already there as part of the situation.
Blossom to Bottle aims to restore lost biodiversity by reintroducing apple orchards and producing organic cider while supporting endangered hedgehogs in the area. Working alongside the site’s ancient woodlands, the orchards highlight the connection between wildlife and the orchard ecosystem. The cider-making process invites users to engage with nature, fostering a personal appreciation for biodiversity.
The project includes facilities for hedgehog care and breeding, helping to preserve local biodiversity and restore the ecosystem. Inspired by medieval cider production, the project creates a meaningful, sustainable space, aligning with the UK National Biodiversity Action Plan.
The building will produce organic apple cider made fresh from the landscape. The process of making cider can bring people closer to nature, and our project focuses on developing the users› intrinsic value in relation to how they feel about biodiversity. By engaging the users in the cider-making process, it will reveal the subjectivity of their experience and foster a deeper connection with
The project celebrates the apple orchard’s seasonal cycle through a pavilion designed for each season. In spring, it frames the blossoming orchards; in summer, it provides shade amid full blooms. In fall, it supports cider production and offers views of colorful foliage, while in winter, it stores the apple harvest and highlights the snow-covered landscape.
The building’s frame structure, made of vertical and horizontal Redwood beams, provides stability and strength. Crafted with Japanese joinery, it avoids hardware, minimizing environmental impact. Redwood’s natural fire resistance—due to its high resin content and low density—adds protection, making it harder to ignite and helping to slow fire spread.
Placing a fire escape at the building entrance enhances safety by providing an accessible evacuation route. Using fire-resistant Redwood makes any burning effects highly visible, further reducing fire risk.
The building includes structural supports to enhance stability and withstand harsh conditions. Together with the frame structure, airtight insulation, and these supports, the building becomes durable, energy-efficient, and eco-friendly. These elements reduce the carbon footprint and promote sustainable construction.
Designed with sustainability in mind, this structure uses Japanese joinery for easy assembly and dismantling. Locally sourced, fire-resistant wood minimizes both the carbon footprint and environmental impact.
The Luminous Mycelium Loft centers around the lifecycle of mushrooms, using their spore dispersal as a metaphor for users’ journeys of belonging and purpose. Inspired by mushroom habitats, the design offers spaces with contrasting atmospheres— dark, humid areas alongside light, open ones— to engage users in varied spatial experiences.
Mycelium is integrated through innovative features like microfiltration for water purification, microfabrication for objects, and as insulation within the structure. Highlighting mushrooms’ role in carbon sequestration and decomposition, the project seeks to deepen appreciation for their ecological value and inspire conservation efforts for a sustainable future.
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and time, we still have the rain wrong
Gehl coined three categories of outdoor activities, including necessary, optional, and social activities.
Gehl coined three categories of outdoor activities, including necessary, optional, and social activities.
(Gehl, 2010) The type of activities that take place in these areas depend upon the environment provided by the rural and urban space. According to him, under poor weather conditions, only necessary activities happen as they must; optional activities are not undertaken.
Gehl coined three categories of outdoor activities, including necessary, optional, and social activities.
(Gehl, 2010) The type of activities that take place in these areas depend upon the environment provided by the rural and urban space. According to him, under poor weather conditions, only necessary activities happen as they must; optional activities are not undertaken. (Gehl, 2010) Social activities allow people to animate public space. Activities spontaneous in nature can occur in a variety of settings, but there are factors such as the physical setting that influence behaviour. Hence, the behavioural response of the public is strongly linked to the context of the space. Under rural and urban spaces, public space can be further categorised into three scenarios; exposed space, urban space, and enclosed space, as seen in figures six, seven and eight. Gehl Architects has categorised and summarised these characteristics in the “quality criteria”, described under protection, comfort, delight and place.
(Gehl, 2010) Social activities allow people to animate public space. Activities spontaneous in nature can occur in a variety of settings, but there are factors such as the physical setting that influence behaviour. Hence, the behavioural response of the public is strongly linked to the context of the space. Under rural and urban spaces, public space can be further categorised into three scenarios; exposed space, urban space, and enclosed space, as seen in figures six, seven and eight. Gehl Architects has categorised and summarised these characteristics in the “quality criteria”, described under protection, comfort, delight and place.
(Gehl, 2010) The type of activities that take place in these areas depend upon the environment provided by the rural and urban space. According to him, under poor weather conditions, only necessary activities happen as they must; optional activities are not undertaken.
(Gehl, 2010) Social activities allow people to animate public space. Activities spontaneous in nature can occur in a variety of settings, but there are factors such as the physical setting that influence behaviour. Hence, the behavioural response of the public is strongly linked to the context of the space. Under rural and urban spaces, public space can be further categorised into three scenarios; exposed space, urban space, and enclosed space, as seen in figures six, seven and eight. Gehl Architects has categorised and summarised these characteristics in the “quality criteria”, described under protection, comfort, delight and place.
Conclusively, the aim of phenomenology is to explain the variations in how things seem by observing and studying how we perceive them, similar to how the mind and world correlate with each other. As a consequence, they create complex understanding of how phenomena feel and seem. In spite of the differences in approaches between Husserl, intentionality, Kant, consciousness, Mearleau Ponty, embodiment, George Perec, personal identity, and experience, they all share the observation that various ways of understanding a phenomenon influence how it evolves and ultimately forms a behavior.
demonstrated how quickly, down as it indicators rain. A determined by raised. In the running motivated by her of her window. to feel negative Consequently, weather specific to the the rain. followed by experience but from spectator in who use because umbrella proving Kant’s sensually each other, (Schnegg, ways that insights express their subjective our own attention well-being, current filled by working with express what advancement”. words habits.
Conclusively, the aim of phenomenology is to explain the variations in how things seem by observing and studying how we perceive them, similar to how the mind and world correlate with each other. As a consequence, they create complex understanding of how phenomena feel and seem. In spite of the differences in approaches between Husserl, intentionality, Kant, consciousness, Mearleau Ponty, embodiment, George Perec, personal identity, and experience, they all share the observation that various ways of understanding a phenomenon influence how it evolves and ultimately forms a behavior.
Conclusively, the aim of phenomenology is to explain the variations in how things seem by observing and studying how we perceive them, similar to how the mind and world correlate with each other. As a consequence, they create complex understanding of how phenomena feel and seem. In spite of the differences in approaches between Husserl, intentionality, Kant, consciousness, Mearleau Ponty, embodiment, George Perec, personal identity, and experience, they all share the observation that various ways of understanding a phenomenon influence how it evolves and ultimately forms a behavior.
In the wettest parts of the UK, we construct homes and businesses in rainy places without thinking about what sort of issues we might face with rain-related damage; buildings such as schools and hospitals are situated in low-lying areas which might be at risk of flooding. In the driest regions, like the Mediterranean, we tend to have too much water instead of too little. We live in many communities around the world where water is scarce due to arid climates. These examples show that we face similar challenges regardless of where we live in the world. As a result of this misunderstanding rain, humans instinctively seek shelter from it, in a manner that dehumanises rainwater and causes them to run away from it.
We have a fundamental misunderstanding of rain›s appearance and behaviour what it looks like and how it behaves. Many of us think a raindrop falling from the sky is in the shape of drops hanging from the faucet, with a fat bottom and pointed top. In reality, droplets detach from the clouds like small parachutes that grow in size as they descend to the earth. At this age and time, we still have the rain wrong too. In the wettest parts of the UK, we construct homes and businesses in rainy places without thinking about what sort of issues we might face with rain-related damage; buildings such as schools and hospitals are situated in low-lying areas which might be at risk of flooding. In the driest regions, like the Mediterranean, we tend to have too much water instead of too little. We live in many communities around the world where water is scarce due to arid climates. These examples show that we face similar challenges regardless of where we live in the world. As a result of this misunderstanding of rain, humans instinctively seek shelter from it, in a manner that dehumanises rainwater and causes them to run away from it.
Observations of Whiteknights Lake and the Reading Station will focus on observing people›s behavior under rainfall. The research objective is to understand why people might respond differently to rain, seen as a continuum, not as a discrete moment. In addition, it is to theorize how phenomenological experience shapes what rain becomes, in relation to three types of rainfall including light, moderaThe study examines the public spaces of two contrasting ecosystems, rural and urban. This research reflects and adds to the field of human psychology in relation to architecture. The dissertation structure will follow a literature review of previous studies, then compare and contrast the context of the Whiteknights lake and Reading Station, conducting primary observations made through photos, sketches and live semi-structured interviews in order to develop a phenomenological perspective and theorise how experience contributes to what rain becomes.
Observations of Whiteknights Lake and the Reading Station will focus on observing people›s behavior under rainfall. The research objective is to understand why people might respond differently to rain, seen as a continuum, not as a discrete moment. In addition, it is to theorize how phenomenological experience shapes what rain becomes, in relation to three types of rainfall including light, moderaThe study examines the public spaces of two contrasting ecosystems, rural and urban. This research reflects and adds to the field of human psychology in relation to architecture. The dissertation structure will follow a literature review of previous studies, then compare and contrast the context of the Whiteknights lake and Reading Station, conducting primary observations made through photos, sketches and live semi-structured interviews in order to develop a phenomenological perspective and theorise how experience contributes to what rain becomes.
1 negative connotation of rain in Reading, drawn by author
connotation of rain in the United Kingdom
(1
My first experience under rain as a child
Figure 20 - my first experience under rain as a child, drawn by author
DISSERTATION STUDY
A Phenomenological Perspective of the Rain in the United Kingdom: Reading Town Residents Behaviours under Light, Moderate and Heavy Rain from Whiteknights Lake to Reading Train Station
During my residency in Reading, UK, noticed frequent conversations centered around the rain, often reflecting frustration and its impact on daily life. This sparked my interest in exploring how rain affects residents’ physical activities and emotional well-being.
This dissertation employs autoethnography to analyze personal experience alongside observed interactions, aiming to understand the cultural impact of weather.
felt a deep peace within myself, it has been a long time since confined myself in such a small place, as heard the rain and wind, as have never heard them before. This was my first childhood encounter with dark tropical rain, my mother walking me outside to touch, feel, listen, and taste rain. Rinsed tortured gray, captured the raucous green of the tropics in matte of gray, black clouds hung over the trees, similar to rain touching my grandmother’s fig and olive trees, the very essence of my culture had been revealed to me in the few dense hours had gazed upon the rain-swollen curve of my mouth, it was this that had come to discover, to experience, the inebriation of rain upon my skin, the sensual exchange of poetry on a thunderous vening, to experience.
1 frustration the realisation that it is raining
2
Figure 21 - experience of public under rain with umbrella, drawn by author
A middle-aged woman jogging down the street. am struck by the sense of relief that comes over me as see her embracing the rain. felt my mother›s emotions within me. Her face is upturned to the shy as she revels in the feeling of the rain on her skin. She is dressed in a bright pink jacket and black matching pants, with a pair of headphones plugged into her ears. As she runs, she seems entirely at ease, her movement fluid and graceful. She dodges puddles and leaps over potholes with the agility of a gazelle, her long ponytail trailing behind her. Rain appears to be her element, as if it were exactly what she needed to feel alive, a friendly duo between her and the rain, as though it were not unusual for her. cannot help but feel a sense of joy and freedom from her. She was completely in the moment, completely present, and it’s clear that she is enjoying every second of her run. As the woman runs, the rain seems to intensify, turning from a light drizzle into a steady downpour. But rather than seeking shelter, she seems to embrace the rain even more, lifting her face up to the sky and letting the cool droplets wash over her. She runs with a purpose, her strong legs propelling her forward as she navigates the wet and slippery mud in an undulating movement. Despite the challenging conditions, she remains focused and determined, her breathing steady and controlled. Similar to mother’s feelings under the rain, her smile resembled her. It pushed me to approach her, and when asked if she was free to answer my questions, she replied with “Well I’m running so..” It was a disturbance in a world she created, a world where her own thoughts and feelings were completely absorbed, but I was still greeted with a big smile. As finished the interview, the woman slowly begins to relax, her shoulders lowering and her expression softening as she returns to her own thoughts. But the moment of disruption left a mark. It is clear that it will take her some time to fully return to the peaceful state she was in before. But this time, she›s more conscious of the rain as she runs. I continue to watch as she disappears with the trees, her bright pink rain jacket becoming a distant speck in the distance.
Figure 22 - Personal observations of rain at Whiteknights Lake, drawn by author
Personal observations of rain at Whiteknights Lake
The word mimics the sounds of the particular rain; sprinkling rain (saparotic), comes with a breeze that makes it generally short-lived and sporadic in nature, wets the soil, grasses grow a little, evaporates rather soon
A middle-aged woman jogging down the street. am struck by the sense of relief that comes over me as see her embracing the rain. As she runs, she seems entirely at ease, her movement fluid and graceful. She dodges puddles and leaps over potholes with the agility of a gazelle, her long ponytail trailing behind her. Rain appears to be her element, as if it were exactly what she needed to feel alive, a friendly duo between her and the rain.
Sky rain, fine drizzle, soaks the soil, allows vegetation to grow, touches human skin
Soft rain, light wind which interrupts it upset/angry/destructive rain; storm, provides water for the river, allows trees and scrubs in rivers to grow
As the woman runs, the rain seems to intensify, turning from a light drizzle into a steady downpour. But rather than seeking shelter, she seems to embrace the rain even more, lifting her face up to the sky and letting the cool droplets wash over her. She runs with a purpose, her strong legs propelling her forward as she navigates the wet and slippery mud in an undulating movement.
Dark rain/dark clouds
Sunny rain/rain with sun still shining through raining clouds; rain develops from formed circus clouds; unseasonal
Despite the challenging conditions, she remains focused and determined, her breathing steady and controlled. It pushed me to approach her, and when asked if she was free to answer my questions, she replied with “Well I’m running so..” It was a disturbance in a world she created, a world where her own thoughts and feelings were completely absorbed.
Raining drops at Reading Station
Middle-aged man walking with umbrella in inverse undulation
Figure 26 - Personal observations of rain at Reading Station, drawn by author
Middle-aged man walking with umbrella in inverse undulation
own umbrella, lost in their own thoughts and concerns, seemingly oblivious to my presence. notice a middle-aged man who glances up at the sky with a look of annoyance, clearly not expecting the that appear to go against the natural flow of his movements. Yet, he stands tall and dry as others scurry for shelter, a pleased look on his face as he triumphs over the rain. He planned well and emerged victorious in his battle against the rain, until his encounter with the wind. The second battle begins, he stumbles and lurches, his feet slipping on the wet pavement as he tries to maintain his balance. His umbrella whips back and forth, the fabric straining against the wind as it threatens to turn inside out. Despite the challenges, he refuses to give up. He grunts and strains, his muscles bulging as he fights to maintain control. As the wind finally begins to die down, he looks triumphant, his umbrella held aloft like a trophy as he basks in the glow of his victory.
What the middle-aged
As I stand here, feel more alone and disconnected than did at Whiteknights Lake. watch as people bustle past me, each with their own umbrella, lost in their own thoughts and concerns, seemingly oblivious to my presence. notice a middle-aged man who glances up at the sky with a look of annoyance, clearly not expecting the rain. He glances around, searching for cover, wondering if he remembered to bring his umbrella. He rummages through his bag, hoping to find
As stand here, feel more alone and disconnected than did at Whiteknights Lake. watch as people bustle past me, each with their own umbrella, lost in their own thoughts and concerns, seemingly oblivious to my presence. notice a middle-aged man who glances up at the sky with a look of annoyance, clearly not expecting the rain. He glances around, searching for cover, wondering if he remembered to bring his umbrella. He rummages through his bag, hoping to find it. It is a folding type with a bent cane handle that alludes to traditional rain protection. Being well-equipped for the rain means he is attuned to the UK climate and can handle. As he reaches the climax of his routine, the rain starts to fall on his shoulders, a sign that the rain has begun. He is dressed in a tailored suit, his once-pristine appearance now ruined by the rain. His clothes begin to soak, but he seems completely oblivious to the wet and cold. The man releases his umbrella with a flick of the wrist, the spring mechanism allowing it to open with ease. As the rain continues, the man seems to become even more focused and determined to win his battle with the rain. He twists and turns, his body flowing in a series of reverse undulations that appear to go against the natural flow of his movements. Yet, he stands tall and dry as others scurry for shelter, a pleased look on his face as he triumphs over the rain. He planned well and emerged victorious in his battle against the rain, until his encounter with the wind. The second battle begins, he stumbles and lurches, his feet slipping on the wet pavement as he tries to maintain his balance. His umbrella whips back and forth, the fabric straining against the wind as it threatens to turn inside out. Despite the challenges, he refuses to give up. He grunts and strains, his muscles bulging as he fights to maintain control. As the wind finally begins to die down, he looks triumphant, his
The Threat of Time: a Personal Journey of my Past, Present and Future
A poignant exploration of my life, represented through a model that transitions from plain white card to vibrant col or. Beginning with the stark simplicity of the white card, I reflect on my past—filled with uncertainty and the shadows of missed opportunities. As the model progresses towards the colorful end, it symbolizes my present and future, where each hue represents growth, hope, and the richness of ex periences. The red line running through the journey signi fies my resilience, passion, and the thread that ties together my evolving identity amidst the challenges posed by time.
Anni Albers given as a source of inspiration, my initial strategy was to extract elements out of Alber’s illustration. The theme of rhythm became clear and hence wanted to depict this through rectangle sizes, manipulating and enclosing them to create a variety of spaces.
Four elements were extracted from Anni Albers illustration and later used as a starting point for the physical models
Further reiterating the creation of spaces that create a rhythm and repetition. This model explored the difference and shared aspects of both rhythm and repetition.
Further reiterating the creation of spaces that create a rhythm and repetition. This model explored the difference and shared aspects of both rhythm and repetition.
Further reiterating the creation of spaces that create a rhythm and repetition. This model explored the difference and shared aspects of both rhythm and repetition.
The card proved effective in capturing the project’s themes, allowing for easy replication of visuals. My focus here is on exploring my journey through past, present, and future. Color became a key element, highlighting differences between past and present and reflecting the uncertain future. Inspired by Von Weigand’s spatially dynamic and abstract color use, I incorporated collage techniques reminiscent of Kurt Schwitters. By blending colored paper with everyday ephemera, aimed to create a playful, open-ended architecture in the section X model, embracing abstraction and inviting diverse interpretations.
The past, present, and future are represented as a bridge, merging into a single form that reflects my personal journey. Card became the core material for the Section X model, with thick card cut into various shapes and assembled to evoke weightlessness. By arranging repetitive planes, aimed to suggest volumes and create empty spaces with simplicity. Though the planes are similar, their arrangement and intersections define the forms. This experimental approach recalls Irene Pereira’s geometric abstractions, focusing not on narrative but on the impact of experimentation and its reflection on time and perception.
JORDAN ELECTRIC POWER COMPANY
THIRD CIRCLE DESIGN, AMMAN, JORDAN
As the lead interior architect for the JEPCO 3rd Circle project, the head office for the Jordan Electric Power Company (JEPCO) in Amman, Jordan, was responsible for the design and spatial planning of key areas across the building’s multiple levels, including the basement, ground, first, and second floors. Each floor had its unique functions and user needs, which required thoughtful coordination and creativity to ensure a cohesive and efficient interior design. Throughout the entire project, collaborated closely with the electrical engineers, project managers, mechanical engineers, and other stakeholders to ensure the design aligned with the company’s operational needs and sustainability goals. The result was a modern, efficient, and visually appealing space that reflected JEPCO’s identity and served the practical needs of its staff and visitors.
DEPARTMENT OF MONITORING AND CONTROL
The design of JEPCO’s monitoring and control department prioritized spaciousness for better communication and workflow. Emergency services were supported by clear pathways and easily accessible exits. Soft, muted colors were incorporated to create a clear distinction between different functional zones, enhancing both efficiency and the overall atmosphere.
As the lead interior architect for the JEPCO 8th Circle project, the reception area for the Jordan Electric Power Company (JEPCO) in Amman, Jordan, was responsible for the design and spatial planning of this high-traffic, first-impression space. began with layout design on AutoCAD, working through multiple client discussions and approval stages to align with JEPCO’s vision and operational needs. Once the layout was finalized, developed a 3D model and produced realistic renders, ensuring that the design was both visually appealing and functional. JORDAN ELECTRIC POWER COMPA
The design was intentionally crafted to be clean and minimal, with smooth lines and an uncluttered layout that fosters a calming environment. Warm, earthy tones were chosen to add depth and a sense of tranquility, creating a welcoming and relaxing atmosphere for visitors. Every element, from the materials to the lighting, was carefully selected to enhance comfort, encouraging a peaceful experience without unnecessary distractions. This approach not only promotes relaxation but also subtly emphasizes the simplicity and elegance of the space.
The design features a calming mix of blues and reds alongside natural wood textures, creating a warm, grounded feel. Portraits and greenery add depth and a touch of vibrancy, with plants placed to bring life and freshness to the space. Each element works together to create a welcoming, tranquil atmosphere that feels both balanced and inviting.
JORDAN ELECTRIC POWER COMPANY
EIGTH CIRCLE RECEPTION DESIGN, SECOND OPTION AMMAN, JORDAN
The second option presents a different layout for the JEPCO Eighth Circle, designed to offer a more compact and efficient use of space. This layout prioritizes closer proximities, which reinforces direct communication among team members and facilitates quicker collaboration. By reducing spatial separation, it enables smoother workflow and enhances visibility across workstations, promoting a more interactive and engaged environment. The design also introduces smaller breakout areas within close reach, supporting impromptu meetings and informal exchanges that are key to fostering a cohesive and productive team dynamic.
Greenery was woven throughout to create a balanced and harmonious environment. Plants were incorporated as focal points, softening the edges of furniture and adding organic textures that contrast beautifully with architectural elements.
Vertical gardens were positioned on feature walls to add height and depth, drawing the eye upwards and enhancing the room’s spatial dynamics. Potted plants and cascading vines were carefully selected to complement the color palette, reinforcing a natural, calming ambiance.
In my role as lead interior architect for the Ritz-Carlton private apartment, I crafted a design that elegantly contrasted with the building’s classical exterior. The client envisioned a modern aesthetic, achieved through a sophisticated palette of rich, deep colors and opulent materials. Luxurious finishes and contemporary furnishings were selected to create an atmosphere of refined elegance, where each element contributed to a cohesive yet strikingly modern living experience. The design blends sleek lines with sumptuous textures, establishing a dynamic interior that resonates with both style and comfort.
With an emphasis on textures and finishes that offer tactile and visual richness, layers of depth were added to each room. Plush upholstery and intricate wall treatments were paired with clean-lined furniture, creating a harmonious contrast that balances warmth with a contemporary edge. Lighting played an integral role in the design; custom fixtures were selected to accentuate the luxurious materials, casting a soft, ambient glow that adds intimacy and sophistication. Ultimately, the apartment design merges functionality and luxury, where modern artistry and timeless elegance coexist to offer a unique and immersive living experience.
The second option entailed a traditional classical style for the Ritz-Carlton apartment, bringing a sense of heritage and timeless sophistication to the interior. This alternative incorporated intricate detailing, such as ornate moldings, rich wood paneling, and decorative accents that would echo the building’s classical exterior. To align with the classical theme, we sourced timeless furniture pieces from high-end stores, selecting designs that embodied elegance and durability. The approach prioritized readily available furnishings and decor, making it less customizable but equally luxurious. Each piece was chosen to complement the overall classical aesthetic, creating a cohesive and refined atmosphere.
However, after reviewing both options, the client expressed a preference for the modern design, appreciating its unique, custom-tailored elements and contemporary style that contrasted with the building’s classical exterior. This decision reinforced the vision to create a sophisticated, modern interior that aligns with their lifestyle and aesthetic preferences.
The color palette for the classical design option focused on shades of beige, warm browns, and other refined hues that evoke sophistication and timeless luxury. These tones were selected to invite a sense of warmth and elegance, enhancing the traditional detailing and creating a rich, welcoming atmosphere. Modern undertones were subtly woven in through accent colors and textures, balancing the classic theme with a contemporary touch that adds depth without detracting from the timeless appeal. This combination of earthy neutrals and refined modern tones aimed to embody an upscale, luxurious feel throughout the apartment.
