Third: The stage of advancement and

development (1970-2000)
At this stage, Jordan moved to more developed levels
due to the political and regional conditions that prevailed
and because of the economic booms in the Gulf
countries and openness to the Western world, as well as
the return of many engineers and architects who finished
their studies from Arab and Western countries to the
country imbued with the principles of modern
architecture.
• This led to an increase in the number of population and the growth of
the urban and economic movement in it. This period is an important
turning point in the history of contemporary Jordanian architecture in
terms of increasing the influence of international modern architecture
and moving away from local heritage architecture on the one hand,
• This was helped by the increasing influence of the ideas of the
Enlightenment architecture, which was a revolution on traditional
(classical) architecture on the other hand. This constituted a qualitative
leap in the ABCs of Jordanian architectural discourse at that time. This
period can be seen as the "contemporary Jordanian architectural
renaissance", whose most prominent characteristics were the following:
•
• The emergence of many architects who were considered poles of Arab architectural
thought enlightenment and pioneers of Arab architecture such as architects Hassan
Fathi and Abdel Halim Ibrahim in Egypt and Muhammad Makiya and Rifaat Chadirji
in Iraq.
• Amman's juxtaposition with other ancient Arab cities such as Jerusalem, Damascus,
Cairo and others contributed to the mixing of its architectural elements with the
elements of these cities, which contributed to providing many distinctive
architectural models (references) that contributed to giving Amman a distinctive
traditional architectural character.
• The participation of many architects and international companies in the
construction of huge projects in Jordan, including sport, recreational, industrial,
economic and residential projects such as dams, factories and residential cities (Abu
Nseir, Queen Alia Airport and others as a model)
• The emergence of architectural works presented by Jordanian and foreign architects
through which they tried to show a distinctive identity of Jordanian architecture
characterized by a global architectural style and carried within it various attempts to
communicate with the cultural and historical heritage of civilizations that passed
through Jordan, the most important of which is the component of the Arab-Islamic
civilization
•
At the beginning of the eighties
of the last century, the Housing
Corporation established the Abu
Nseir area in its first phase, but
then the urban and population
spread began in its various
stages,
• University of Science and
Technology Project, Faculty of
Medicine and Teaching Hospital
• Architecture: Kenzo Tango
• 1980
Royal Court Project in Amman / Paolo Portuguese

PAOLO PORTOGHESI, ROYAL COURT,

AMMAN, JORDAN, 1973-1975
the Royal Court in Amman (the project was not built) designed by the Italian architect
Paolo Portoghesi, 1973-1975
Mausoleum
of Queen
Alia
• Overlooking the Jordan valley and 17km from Amman, the site lies
atop a prominent hill not far from the Royal Palace.
• The prayer hall, which accommodates 500 person, is covered with a
large central dome and the four lateral areas are covered with smaller
ones. To the right of the main entry is placed the black marble
sarcophagus of the late Queen. The mosque's principal structure is a
reinforced concrete frame. The ferroconcrete mesh domes are
surfaced with trowelled concrete skins, a technology adapted from
ship building.
The Mausoleum Mosque for the late Queen Alia of Jordan by the British firm Hacrow Group
Architects, 1980
http://www.theroyalforums.com/forums/f83/the-royal-cemetery-
mausoleums-and-burial-customs-of-the-jrf-2129.html
Establishment of the
University of Jordan

• The University of
Jordan is the oldest
university in Jordan,
established in the
capital city of Amman
by Royal Decree in
1962.
 Jordan JUST 1976
University
Education/Culture
Site area
12,000,000.00㎡
Total floor area
1,130,000.00㎡
Number of stories :4
Height: 35.00m
• Location: Located in Shmeisani Amman
• Construction Company: Korean SsangYong
Corporation
• Start Date : 1980
• Completion Date :1982
• Building height: 98 meters Number of floors above
ground: 21 floors General information about the
building: It is a commercial complex where the size
of the floors decreases as we rise to the top.
• The commercial market covers an area of four
thousand square meters and embraces 40 shops
A new era design
architecture with
local culture
• Rasem Badran and Jafar
Tukan were two local
(Jordanian) architects who
strongly adhered to the
reappreciation of local
heritage and culture.
• They strongly believed in
incorporating the specific
characters of the region in
their designs.
Badran, influenced by his modernist training at the Technical
University of Darmstadt in Germany early ‘70s, launched his
practice as experimental modernist who was seeking to adapt
his rationalist thought to rediscover the local. However, during
the ‘90s his rationalist stance started to fade and gave rise to
an intuitive experimental regionalism or contextualism

Rasem Badran received his early education in Ramallah. In 1970

Badran graduated with a degree in architecture from Technische
Universität Darmstadt (Darmstadt University of Technology) in
former West Germany.
• Rasem Badran's influence is rapidly
spreading throughout the developing world.
His work involves the full spectrum of the
built environment, from urban planning to
individual residences.
• He concentrates on making architecture
that meets the social and cultural
requirements of the people who use it, as
well as being place-specific in response to
environmental conditions.
Born in Jerusalem in 1945, Badran was educated in Ramallah
and then in Germany, which had a profound impact on his
approach to design.
His well-balanced education, beginning with a traveling
apprenticeship with his father and continuing through a fertile
and exciting time of experimental architecture in Europe, has
allowed him to weave a systematically rational, Western
methodology with the intuitive traditions inherent in his own
cultural background.
Badran designs buildings and environments that stand in stark
contrast to self-conscious, anonymous architecture devoid of
any reference to people, place, or culture.
He offers a humane option to the deliberately commodified,
blatantly branded, aesthetically objectified, and
environmentally inarticulate architecture that is becoming the
norm in the developed world today.
Al-Talhouni residence
Al-Talhouni house is a house in Amman, which makes a dialogue with a traditional clay
house. Its concept was close to the architecture of the architect Hasan Fathi, who had
designed a villa in Aghwar for Talhouni family but passed away before it was completed.
Badran translated the family's ideas and aspirations into a design that imitates Arab and
Islamic architecture through memory.
The house design presents a shifted grid module "the first evidence of the complicated
culture layering of the east". At the same time using local stone and the architectural
vocabulary of the Jordanian villages of the 19th.
Therefore, Al-Talhounis house design has a symbolic significance that met the family's
desire of having a stone house in Amman embodying the traditional roots and reflecting the
dialogue between stone and clay.
This project involves the remodeling of
an existing house and designing a
diwaniyah as an annex, which consists
of a reception majlis, a dining area, and
a kitchen and services area. The house
and diwaniyah are built around a
courtyard in the Islamic garden
tradition, with lush vegetation of
Mediterranean trees and flowers,
water features, and patterned floors.
Intricate wooden mashrabiyas are used
for the doors and windows surrounding
the courtyard and inside the living area.
The garden layout and furniture makes
it usable all day long and around the
year. While reflecting the contemporary
living requirement, the house and its
garden are reminiscent of the great
houses of traditional Islamic cities.
• The house comprised several
courtyards for the different zones,
private and public. These
courtyards added different kinds
of experience in addition to the
privacy dimension and the
introversion atmosphere to the
house. They filled with lush
vegetation and trees were put
carefully to prevent direct sunlight,
make shading area and make
enclosures for sitting areas and the
use of roof gardens. Each
courtyard helps to provide
ventilation and natural lighting
necessary for voids. The
orientation of each courtyard
adjusted carefully to permit
maximum airflow, with sectional
properties adjusted accordingly as
shown in figure
Villa Khoury 1974
The rectangular building site slopes downward, away from the
main front road. The 240 m2 stone house is built in three sections.
A living room, dining room, kitchen area in front is divided by two
inner patios from a rear lower bedroom area on two levels. The
entire building is surrounded by a landscaped garden. The building
is a traditional stone construction with bearing walls and
strengthening columns. The thickness of the walls is 30 cm. The
floors are concrete, and the ceilings are plastered.
Villa Khoury
VIlla Madhi
Villa Handhal ---1974-1975
• One of the first villas designed by Rasim Badran in
Amman is one of the villas that contributed to
rasim Badran's fame.
• Rasim Badran designed the villa in proportion to
the location where the villa is located on a
mountain top in Dhahiet al-Rashid.
• One of the most important design features of the
villa is to adapt it to the characteristics of the
mountain land site and take advantage of its
distinctive views.
• The villa consists of three
floors with a total area of
1200 square meters.
Rasim has applied the concept of half-storeys on
each floor of the villa so that the top floor is more
private than the basement. Rasim designed the villa
as an old Arab house so that there is complete
privacy of the bedrooms away from the guest
reception.
At the same time, while maintaining the privacy of
the bedrooms, Rasim made a free plan of the
reception and salons zones.
The design of the villa is based on the that if any
part of the villa is cancelled, the villa remains
complete and contains all the functions.
The Handal villa was the first house to have a side entrance.
Use the horizontal support beams to emphasize the entrance and the corridor leading to the entrance.
In addition to using horizontal beams, Rasim used a break wall in the entrance as a guide to the house.
This method has been successful in emphasizing the entrance and a new way of expressing it.
 Interior
An interior image showing the entrance with the lounge and stairs.
Elevations
Using an iconic method in
architectural facades, Rasim
created architectural facades that
preserve the privacy of the
building, but at the same time kept
the sun and the natural lighting
entering all over the house. Rasim
helped achieve this thing using the
free walls, which contributed to the
creation of open spaces in the
garden in addition to maintaining
the privacy of the house.
Rasim Badran

Villa George Handal in al-Rasheed suburb - Phase 1 -

Hatahit house 1979
A single-family house on levels consisting of four
bedrooms, a formal reception hall, a private living
room, a dining room, and a kitchen. THe design concept
was based upon the direct link of the main entrance to
the core of the house. This has been acheived via a
large courtyard which connects through a corridor to
the central courtyard. All functions are organised
around the central courtyard. The construction is
reinforced concrete white washed with plaster.
• CEMENT FACTORY HOUSING
• CLIENT: Jordan Cement Factory Company
• Location: Al-Fuhais & Al-Rashadia - Jordan
• Services Provided: Design & Supervision
• Total Built-up Area: 45,300m2
• Construction Cost: US $ 13,000,000
• Starting Date: 1982 Design - 1984 Supervision
• Completion Date: 1983 Design -1986 Supervision
• Project Description:
• The Cement Factory Housing project consists of 120 units located in
Fuhais and 85 in Al Rashidiya, both units provide their residence with
privacy and luxury with facilities including a commercial centre and a
mosque in each area, with a comprehensive infrastructure, and the
mountain nature of the areas helped facilitate terraces and open
courtyards.
• The design was inspired by combining both contemporary and traditional
architecture design that provides a sense of contemporary urban
formations; the Cement Factory Housing units comprises of several
buildings that are clustered together in repetitive design prototypes
forming an integrated housing community.
 • Humanising living spaces and designing ethical
buildings are part and parcel of Dr Badran’s work.
In doing so, he strongly considers a project’s
context and ensures its connection to its
surroundings. His work honours principles that
benefit society, the environment and the people,
which can be seen in projects like the Justice
Palace and the Grand Mosque in Riyadh (1985-
1992), the King Abdul Aziz Historic Center in
Riyadh (1996-1999), and the Al-Bujeiri
Development in Riyadh (2000-2015), among
many others.

AGA KHAN AWARD FOR ARCHITECTURE

Award Cycle: 1993-1995 Cycle
Project : The Great Mosque of Riyadh and the urban
development of nearby public squares, gates, towers, parts of
the old wall, streets, and commercial facilities, comprise the
second phase of a master plan to revitalise the Qasr al Hokm
district, the old centre of Riyadh
winner: Rasem Badran
Jafar Tukan
Jafar Tukan, a grad of the American University in Beirut,
Lebanon in 1960, started his practice in Beirut, Lebanon. He
returned to Amman after the outbreak of the Lebanese civil war
and initiated his practice in 1976 .
Like Rasem Bardan, his passion and sympathy for local culture
in his early work was disclosed in experimental manipulations of
modernism.
His work exhibits a strong influence of international cubism,
functionality and rationalism. Despite the evident last shift in his
work to experimentation in regionalism during the 1990s, the
rational flavor is still prevalent in his work.
Selected projects and case studies

The Aisha Bakkar Mosque is one of the most important

landmarks of the region, which gave it the name. It was
built in the year 1343 AH with an area not exceeding 35
square meters topped by an ancient minaret. His name
belongs to a virtuous lady named Aisha Agha, who is
married to the Bakkar family, who did not have children, so
she gave the land to build a mosque on it.
• At this point it is important to note the significant role of
emergence the Aga Khan Award in 1977. It aims to identify
and reward architectural concepts that successfully address the
needs and aspirations of Muslim societies in the fields of
contemporary design, social housing, community
development and improvement, restoration, reuse and area
conservation, as well as landscape design and improvement of
the environment. It played in emphasizing the role of the past
in shaping the present and future built environments of the
Islamic World.
• The award adheres to the critical re-thinking of previous
architectures and urban environments as important source of
inspiration.
• It also emphasizes the sensitive response and respect of the
complex local conditions, while also being sensitive to the new
emergent global phenomena to incorporate both cohesively.
• The Award cycles are held every three years under specific
themes related to pressing architectural and urban issues.
• Both architects Bardan and Tukan were awarded the Aga
Khan. Bardan won the award for his Palace of Justice in
Riyadh, Kingdom of Saudi Arabia in 1989, while Tukan won
the Award for his SOS Children’s Village in Aqaba, Jordan in
2001.
 Residential villas of works
(Jaafar Touqan)
‫فيال سلفيتي‬ Villa Rizk 1980 •
Villa Salfiti 1982 •
Villa Mubarak 1983 •
Villa Kazemi 1983 •
‫فيال رزق‬
‫فيال مبارك‬
Villa Abu Rahma 1984 •
Villa Shelby 1986 •
Villa Nabil Al-Sarraf 1995 •
‫فيال كاظمي‬ Villa Qattan 1998 •
‫فيال ابو رحمة‬
•
•

‫فيال قطان‬ ‫فيال شلبي‬ ‫فيال نبيل الصراف‬

The late Jafar Tukan's 1980 Villa Rizk, one of the earliest houses he
designed in Amman.

This is one of Jafar Tukan's earliest houses in

Amman. It reflects an attempt at re-establishing the
traditional stone house in Jordan through both the
texture of the stone and its building technique. It is also
an attempt at re-introducing traditional urban Jordanian
residential forms into the country's contemporary
architecture. Structural constructing system is reinforced
concrete skeleton with hollow slabs with concrete block
Villa Rizk / Jaafar Touqan infill. All parts were manufactured in-situ, except
mechanical and electrical equipment and windows.
Villa Kattan 1998 is in a modern residential area
and is of a simple character that simulates
modernity and rationality in design. Investing in
the possibility of multiple points of vision in the
interior, created by the double elevations of the
designed spaces,
His design philosophy
• Jaafar Touqan's designs are characterized by being from the inside
that make the user live a vacuum experience that breaks the
boredom and rigidity generated by monotony in design, for example
the use of the idea of manipulating levels and free projection, which
we note that he was influenced by Frank Lloyd Wright.
• Jaafar Toukan believes that the spaces of the house should or not
achieve the minimum human need only... Rather, it seeks to achieve
the highest levels of luxury and creativity in order to increase the
user's engagement in the space.
ACDIMA A distinctive architectural
experience in using the stone
Pharmaceutical for decoration and employing
the inner courtyard in a
Company distinctive style in
administrative buildings
Building 1986-
1987
It has been demolished to make way for the new Ritz Carlton. The house is a major landmark in
Jordan’s architectural development and an important part of is architectural memory that is now
lost for good. It is time that legislation protecting Amman's and Jordan’s modern architectural
heritage is put in place.
 SOS Children Village, Aqaba, Jordan,
Design by Jafar Tukan Atelier – CC Group,
Aga Khan Award 2001

Image / Scheme
 Children's Village S.O.S

Jaafar Touqan built the village from the stone of Aqaba falling from the granite
mountains at no cost and was built in the old traditional way in Aqaba and became an
archaeological building.
An attempt to harmonize with
the local community by
establishing shops belonging to
the village and serving the
community
 ‫‪S.O.S‬قرية األطفال‬

‫غرفة المعيشة‪.‬‬ ‫غرف النوم النموذجية ‪.‬‬

Shaded squares.
Jubilee School /

The School was launched in

1993/94 as the first institution
specialized in teaching academically
gifted and high achieving students
in the Arab region. In 1999, the
School was annexed to the King
Hussein Foundation which had been
founded by Royal Decree as a non-
governmental, non-profit
institution, locally and globally,
representing a living milestone of
His late Majesty’s vision and
humanitarian heritage.
 ‫مبنى أمانة عمان‬
‫مبنى أمانة عمان الكبرى •‬

‫وسط البلد ‪/‬عمان ‪:‬الموقع•‬

‫‪: 1997‬سنة البناء •‬

‫‪.‬راسم بدران و جعفر طوقان ‪:‬المعمار •‬

‫حكومي ‪:‬نوع إستخدام المبنى •‬

‫‪2‬م ‪: 880‬مساحة البناء •‬

Amman Municipality Building
(city hall)

•The building consists of 3 floors and

basement.
•The ground floor consists of four
sections distributed around the inner
circular courtyard
•One of these sections has the main
entrance.
Use of local limestone
• The main functions of the inner circular courtyard on:
• Central formation in the movement .
• Organizer of movement between spaces.
• Form the starting area from the entrance towards the interior.
• The Jordan National Museum
"tells the story" with narration
beginning on sight of the
ceremonial plaza. Guests are
greeted by two masses,
connected by a bridge at the first
level. The separation allows
extra entrances and a platform
for outdoor events.
• Inclined stone walls represent
the earth stratum of Amman's
carved mountains, implying
mystery and encouraging
curiosity. The layers become
more chiseled as the walls rise,
representing the progress of
craftsmanship, with it evolving
into a glass cube at the top.
• Designed to revitalize the
historic area by creating a
cultural urban pause in the busy
area, it intrigues visitors to
experience Jordanian history in a
lively, contextual setting.
• At another level, a new generation of practitioners came
into the scene of practice during this period, 1980s-‘90s,
and they started to establish their reputation and
experiments in rediscovering and reinterpreting local
cultural values and representing them in a provocative
manner.
• Their interest in the local cultural context is associated
with their educational background as well as the initiation
of their practice within the context of postmodernist
thought. These practitioners include Wadah Abedi Bilal
Hammad and Farouq Yagmour at the end of the ‘70s,
Mohammad Khaled, Ammar Khammash and Ayman
Zuaiter at the end of the ‘80s and Rami Daher, Bitar
brothers at the end of the nineties.
Wadah Abedi
Wadah Al-Abedi
Jordanian-Palestinian architect. He was born in 1944 in
The City of Safed, Palestine. He received his Bachelor of
Architecture from the Faculty of Architecture at
Alexandria University in 1967. He received his Ph.D. in
1974 from the University of Paris. He worked in the
Ministry of Municipalities as an engineer. A private
engineering office was opened in 1974. He worked in the
Department of Architecture at the University of Jordan as
a part-time lecturer.
Villa Odeh
•The villa is located on the fourth roundabout behind the Prime Minister's Building
on Zahran Street in a quiet villas area surrounded by trees.
 ....Project information

Villa Samir Odeh Project name

1998 Construction date

Dr. Wadah Al-Abedi Architect

residential Building type

Organic architecture Architectural School

Jordan - Oman - 4th circle Site

2000 m2 Project area

3 floors Number of floors

 Architectural
concept
• Dr. Wadah Al-Abedi took the idea of
the tree in the design of this ,so the
design came like a tree in the leg and
leaves and branches. Since the cylindrical
mass represents the leg of the tree and
the leg of the tree carries the leaves that
are represented by the terraces, and they
express the leaves and floors represent
the branches....
• The ideas of modern architect Frank
Lloyd Wright are clearly influenced by the
design of the waterfall house.
• Al-Abedi was passionate about
stonework and over-formed it with new
methods. Use circular shapes, oblique
walls and large openings (windows and
doors) in accordance with the references
of traditional architectural elements
(organic architecture)
Waddah Al-Obaidi is one of the most prominent Jordanian architects who deals
with natural stone as a building material. He has a remarkable ability to produce a
diverse composition from it.
In most project designs, whether residential villas or public buildings, we find that
the general composition depends on the concept of sculpture in the cubic form,
using a variety of stone shapes such as )Tobze cycles) that reflect the organic sense
in the general composition of the building.

The building consists of three floors:

- Ground floor.... Services.
- First floor.... It has a salon, living room and kitchen, as well as three guest bedrooms and a
bathroom.
- Second floor..... The family sleeps area . in the middle of a shaded terrace that is an
extension of the inner living room.
Architect used the terraces clearly on the first and second floors.
The second floor is a .... Family sleep area and in the middle a shaded terraces that is an extension of the inner
living room

‫حمام‬
‫نوم‬ ‫نوم‬

‫حمام‬ ‫نوم‬ ‫جلوس‬

‫رئيسية‬

Second floor ...

 Facades

1- The engineer is completely away from the symmetry in the façade.

2- Use vertical elements to focus on both the entrance and the inner
staircase connecting the two floors.
3- Use the stairs with a curved path to give the entrance the
importance of embracing the wall of the stone cylinder containing
the stairs.
4- Use the Tobza stone texture in the construction where it is
suitable for the project environment.
 - Gradually the blocks retreat for each floor inward, which
gave the façade a smoother shape and a greater association
with nature.

Use of horizontal surfaces raised and

prominent forward
 ‫مواد البناء املستخدمة‬

The architects used natural stone,

especially the Tabza stone, which is the
common characteristic of the buildings
of Amman. In addition to stained glass
for windows.
 Positives
• Use simple geometric shapes in plans
• Simple geometric form
The designer used vertically stone overhangs
to give a kind of shading and create a façade
formation that breaks the horizontal blocks
and focuses on important elements such as
the vertical stone lips at the entrance to give
importance to it.
 Design notes /

Do not use any transitional spaces such as corridors to move between

rooms.
Reduce the importance of the cylindrical mass that he used in the
building as an internal staircase so that he used a similar block as a
bathroom.
Blocking the entrance to the villa by embracing the cylindrical mass and
this also contributed to reducing its importance.
- Architect Wadah Al-Abedi succeeded in applying the architectural doctrine (organic) where he showed
the building's association with nature functionally and visually.
- Villa Samir Odeh is considered functionally successful architecturally where all the needs and functions
required for housing have clearly been met, but some spaces lacked privacy due to their direct contact
with another major vacuum and lack of corridors.
- As for the building materials, it was compatible with the outer context of Amman, which was
characterized by stone construction, and
Dr. Al-Abedi is one of the most keen architects in Jordan and Amman, particularly because of his fear of
the massive and unregulated urban tide that has plagued Amman recently.
- Succeeded in using architectural highlights (such as concrete umbrellas, stone
murals, etc.) to focus on important elements, concepts and spaces within the villa.
- Villa Odeh is clearly similar to the Waterfalls Villa using horizontal lines penetrated
by vertical elements focusing on important spaces such as the inclusion in Villa
Odeh, which gives it importance in addition to the graduality in the blocks that
gives the exterior a beautiful flow in the formation.
- Trying to apply one of the principles of Corbusier that he applied at Villa Savoy,
which is to raise the building on columns to make it communicate with nature and
to strengthen the connection between them
Design idea: Use of stone, slanted walls and hierarchical form to protect against desert climate
Architect Wadah Al -Abedi
Bilal hammad

Born in Nablus in 1952 and raised in Amman, Bilal Hammad received his Bachelor of
Architecture from the Faculty of Engineering, Alexandria University in 1975.
Founder, architectural consultant and lead designer of many private, public and
government projects has been involved in the field of design and consulting work
since graduating.
In addition to architectural design, Bilal Hammad expands his interests towards
improving the built environment in general to include: urban design, garden design
and interior design, in addition to studies of the general institutional appearance
and its integration with architecture and the built environment.

Biography
 Among his
achievements:

• Interior design, site coordination and development of

the general appearance of the Specialty Hospital
• Design of many housing projects, the most important
of which is the housing of Rabat
• Supervising the work of the second phase of King
Abdullah Mosque in design and implementation
• Supervising the implementation of the Jordanian
pavilion of the Seville International Expo
•
• the general master plan for the Ras Al-Ain area, the waterfront
of the city of Aqaba (Hafayer area),
• the Hussein Cultural Center in Ras Al-Ain,
• the rehabilitation and expansion of the administration building
of Jordan Kuwait Bank with the development of the
institutional appearance of the bank through several renovated
branches,
• and contributing to the design of the master plan for Al-
Hussein Gardens, especially the part called the flowery
gardens.
•
Academic and professional
appreciation:
• Winner of the Order of Independence
in 1986,
• member of the Royal Committee for
the Beautification of the City of
Aqaba,
• member of the Advisory Committee
‫اعماله السكنية الحديثه‬
. Villa Dirania –
Amman / Um Uthaina
 The designer was eager to maintain
the privacy of the family by separating
the family rooms in one side, where it
can be permanently separated from
the building without affecting its
function. It is noted that there is the
strength and clarity of design and the
ability to diversify the vocabulary of
architecture, starting from the inner
courtyard to the internal divisions of
the building, and the courtyard works
here as a regulator of the conditions
(environmental in a semi-arid climate
such as Jordan's.

Villa diraniah
Villa Adnani
Abdoun
In this villa, the courtyard is surrounded by several spaces
(entrance, dining room, oriental living room, living), the
courtyard is located on two different levels, divided by a
retaining wall and linked by a staircase to move between
the two levels.

The most important ideas of architecture Bilal Hammad
1. The need to include the courtyard in the structure with its climatic and aesthetic spirit
and the centrality of dealing
With.
2. The need to emphasize the use of elements that gave the courtyard its climatic value
Such as the fountain and the spaces that are open and integrated with it.
3. Activating the idea of a transition from the associated courtyard in one building to the
courtyard dealing with. The urban complex and perhaps the development of the idea for
the integration of more than one courtyard at the level of one courtyard or the
architectural and urban complex.
4. Non-traditional climatic and aesthetic elements can be introduced as other functional
elements
5. The possibility of choosing unconventional shapes for the courtyard other than
square and rectangular, such as the circular and oval shape
6. The possibility of activating the courtyard with joint
activities that create an interactive and complementary
place between the private, semi-public and public buildings
in multi-event buildings.
7. Emphasizing the visibility of the courtyard as a central
element in the design, both in its importance,
Its area, location or composition.
8. It was noted from the case study that the architect
subjected the geometric shape of the courtyard for
aesthetic purposes and must pay attention to the courtyard
geometrically, as an environmental element in addition to
its function as a space for privacy in the dwelling
 Rabat Housing 1988
30 apartments 4800 m2 use of the general inner
courtyard of the mini residential neighborhood
Greater Amman Municipality Building
Staff/Administration & Office Building
DESCRIPTION
A major renovation work was proposed to animate a rather dull structure. The intervention was meant for that building to stand out and to
reflect a contemporary look, this effect was attained by the introduction of a tower structure, a strong urban element, connected to the main
building by a steel bridge. The facade of the main building was raised be retracted additional floor and coverd by a semi transparent canopy.

DESIGNED
2000
COMPLETED
2001
WA AWARD
by Bilal Hammad in Jordan won the WA Award Cycle 6. Please find below the WA Award poster for this project.

Jordan Kuwait Bank

  Project Name: Al Hussein Cultural Center.
 Location: Jordan – Amman Ras al-Ain.
Al Hussein  Architectural Designer Name: Engineer
Bilal Hammad Consulting Engineers.
Cultural  Type of use: General (cultural).
Center  Number of floors: floors.
 Owner: Greater Amman Municipality.
 Project Space: 12500 square meters.
 Year Built: 1999, Opening: 2000
The King Hussein Cultural Center contains cultural facilities that complement the role of the Greater
Amman Municipality in reviving the Ras Al-Ain area, starting from Al-Nourain Mosque, Fountains
Square, Palm Square, then the City Hall and the Greater Amman Municipality Staff Building and ending
with the King Hussein Cultural Center, where the project area is about (20) dunums out of the square
area of (143) dunums.

Fountains
Square
 ❖The designer wanted in this building to link between the
old and the modern, i.e. (past and present), because the
building is located within an old area (Ras Al-Ain area)
near the Municipality of Amman that contains
archaeological areas and archaeological houses in which
there is the history of Arab and Islamic architecture,
which the designer must take into account the history of
this region and at the same time take into account the
concept trends of the present era ... We notice this link in the
project through its use of the court, which was used in
buildings of historical origins... As well as using the
principle of the alley leading to the entrance, and this
entrance is broken... As well as the materials used, he
used materials that indicate the past and the present and
the link between them.

❖
 Al Hussein Cultural Al Hussein Cultural Center Theater
Center

Cultural Center

Stairs

Project Elements:
The cultural center with an area of (10,000) m2 and includes a lobby, an
National Conservatory of Music amphitheater, multi-purpose halls (3), panorama elevators, and a
moving electric staircase.
2 . Al Hussein Cultural Center Theater with an area of (1700) m2.
 First floor analysis

Ramp leading to
Amphitheater for runway A
(189) people

Dedicated exhibition
lobby

Stairs leading
to the main
Stone wall to hide
runway
toilets

(2) panoramic elevators

Guidance
Main Entrance Counter
Movement on the first floor
Panoramic elevators lead to the upper floors, which consist of
the second floor, which contains:
1.Staff Offices
2.Meeting rooms
3.Public Square
And the third floor, which contains:
1.Library
2.Public Square
 Multi-purpose hall Second floor analysis
Stairs leading to the
main runway

Exhibition Stone corridor leading to

Arena the main amphitheater

Staff Offices

Meeting room

Ground floor containing the main

‫المعهد الوطني للموسيقى‬

‫المدخل الرئيسي‬

‫االستقبال واإلرشاد‬
‫•يتكون مبنى المعهد من أربعة طوابق بحيث تحتوي على قاعات‪.‬‬
‫•الطابق األرضي )‪GF‬وهو االستقبال واإلرشاد)‪.‬‬
‫•كانت مكتبة في ما مضا ثم تحولت إلى معهد الوطني للموسيقى‪.‬‬
 ‫مسرح مركز الحسين الثقافي‬
‫المقصورة الملكية‬

‫فصل المسرح النه يحتاج الكثر من مدخل واحد ولتسهيل‬

‫الوصولية اليه‪.‬والعمل على ربطه مع الكتلة الرئيسية بصريا‬
‫ومن خالل االشكال‪.‬‬

‫•يتسع مسرح المركز إلى (‪ )535‬مقعد ويضم مقصورة ملكية‪.‬‬

‫•هو مجهز بأحدث األجهزة الصوتية واإلضاءة المسرحية المخصصة وخشبة عرض مناسبة تخدم كافة‬
‫العروض المسرحية والدرامية والغنائية والراقصة ‪ ،‬ويمكن استخدامها للعروض السينمائية والفيديو‬
‫المختلفة والمؤتمرات ‪.‬‬
 Alley

Use the ❖
principle of the
alley leading to
the entrance and
this entrance is
broken.
❖
Court yard

The use of the central courtyard used in

old houses for family gathering, and here
was to assemble buildings around it and
use it for offices.
 Stone use

❖Use stone as in old houses.

 indirect entrance

❖Using the "indirect" broken entrance leading to a

distributed square that connects to the alley and the
theater visually connected to the building, so that
the old principle of distribution of lanes was applied.
❖The control of the cylinder on
the overall shape of the building,
as it was connected with the
building visually by the effect of
the building "concavity" in the
walls.
❖
‫الحجر‬

‫الزجاج‬

❖Materials used:
❖The use of stone (like other traditional
buildings of Amman), but there is an overlap
of glass (like modern buildings), which gives
harmony and connection between the
present and the past.
 ‫تعدد أشكال الفتحات الخارحية‬

‫❖نالحظ كثرة الفتحات الخارجية‪،‬و تماشي‬

‫شكل الفتحات في المبنى مع مكانها وشكل‬
‫الكتلة المحتوية عليها ‪.‬‬
❖The complexity in the exterior of the building is not
reflected in the great simplicity of the plans.
❖

Basic shapes
Aiman zoaiter and
Farouq Yaghmour
Aiman Zoaiter
• Born in 1957 and graduated from the American University of Beirut
with a bachelor's degree in architecture in 1981.
• Ayman Zuaiter (B.A.E) is the co-founder of Tibah Consultants in
1987, Ayman Zuaiter lead the design team of Tibah through several
first prize winning competitions in Jordan and the Gulf Region.
• Architect Ayman's diverse experience in the design and planning of
residential compounds, resorts, commercial, cultural, landscape
and urban planning projects, amongst other team members, is a
major asset relived behind the distinguished reputation that Tibah
Consultants has achieved and maintained since 1988.
• Ayman Zuaiter is a frequent lecturer and graduation projects jury
member in several Jordanian universities. Several of his designs are
published and are currently a subject of study at many architecture
schools.
Most of Engineer Ayman Zuaiter's projects are characterized by
contact with the neighboring environment and heritage of the
country, and are characterized by the element of surprise, internal
courtyards and colonnaded arcades.
Dar Zuaiter (Family House) was implemented in 1982.
Villa Dajani was implemented in 1997.
Villa Tabbaa was implemented in 2000.
Raghadan Tourist Complex was implemented in 2004.
Tala Bay Resort Phase III was developed in 2005.
Al Hummar Residential Complex was implemented in 2006.
Villa Farouk Zuaiter and was implemented in 7/2007.
Villa Al-Wartan was implemented in 8/2007.
King Hussein (minimal garden) was implemented in 8/2007.
Dar Zoaiter
Year of implementation: 2007.
Location: Amman/Jordan. It is one
of the first buildings designed by
architect Ayman Zuaiter, a three-
story private residence divided into
three individual houses by level,
organized in a U-shaped plan
around a courtyard. Each level has
three bedrooms and balconies.
 Villa Al-Tabba

He is educated by Hassan Fathi and Rasim Badran . This had an impact on his
career and his architectural idea. Which relates to Islamic architecture and its rich
elements
The simple external image of this house hides within it a richly
designed internal court. The form of the plan is derived from
site geometry and functional relations. The Court yard space is
freed from the formality of the rectangle. Although delicately
balanced, this space can be described as a compilation of
events with no clear chronological order.
Architectural elements and features that used:
the inner courtyard
Hidden entrance
water elements
transitional spaces
narrow Arcades (riwaq )
irregular formation
• In designing the courtyard in this building, the designer focused on
two basic ideas for the courtyard:
• The first is the courtyard as an element that provides a social
function of misalignment of the contents of the courtyard in such a
way that the occupant of the house can engage in social activities
outdoors while enjoying complete privacy.
• The second element is environmental for the partial climate of the
house. This is the fault of integrating green plants, trees, the water
component and varying shading tools, in which case the courtyard
acts as a container for the preservation of cold air overnight and
allows for the cooling of the interior spaces from the malfunction of
the opening of windows overlooking the courtyard.
•
Villa Dajani
Year of implementation: 1997. Project Location:
Amman/Jordan.
The house has been designed so that the courtyard is the
guardian space through which the rest of the spaces of the
house are entered, from a side entrance defect in order to
break the visual axis and find the factor of surprise and
away from the edifice and emphasize the characteristic of
humanity characteristic of peaceful architecture so that
the courtyard is formed from the defect of forming the
front fence and the main block of the house, as some
certain elements have been added to the concept of the
courtyard, such as the water element. The transition space
between the entrance and the courtyard, as well as a
major movement distributor for the internal spaces and an
external gallery. It is characterized by a regular geometric
shape pivotal has been mitigated from the defect .indirect
entrance and random movement of people has been able
to architect find privacy from the defect of the strong
leech between the courtyard and the entrance broken and
here is the ability of traditional architectural elements to
harmonize the requirements and requirements of modern
life in Jordan
Villa Dajani (Deir Ghabar)

Design of this villa can be

considered an attempt to read the
vocabulary of heritage
architecture in a contemporary
style
The use of Islamic elements and
architevtural features, decorations
and inscriptions was evident in
Zaiter's designs.

AlMashrabeat
• In an interview, Architect Zaiter emphasizes that the courtyard is an open space, a source of light, air
and a place of tranquillity at the same time.
The story begins with living with the courtyard for a while and sensing the aesthetics of the place, and
then paying attention to the architectural elements and components that produced this space.
The priority here is in terms of the planning aspect in terms of the relationship of the interior abroad
and the establishment of an entity for the yard, before entering into the plastic details, i.e. in the
planning area as well as the way of indirectly entering the "marginal" and moving away from the strict
pivot in the engineering relationships of the spaces.
And that's a fundamental point, and it's one of the design secrets behind it.
• Then comes the formations of the elements of tranquility and containment that this place adds to its
inhabitants.
• Perhaps decorations to complement the architectural formulation and instill the spirit to the extent
functionally required.
• Villa Bisiso:
• The courtyard is designed to be a center
of internal spaces without transitional
spaces and is therefore used as an internal
vacuum (living) as it is the main
movement distributor towards the rest of
the interior spaces and has a role in
climatic and environmental treatments in
terms of ventilation and handling of
lighting where it is moved from less
illuminated spaces. It was also roofed with
a glass ceiling. The glass ceiling can be
used for negative heating purposes in
winter and the courtyard was the product
of the formation of internal spaces and is
irregularly characterized to be associated
with the sitting room, food and salon as
shown in the following areas.
• Use of water elements and
marble in decorative geometric
forms (fountains) in the inner
yardsyards
 Multi courtyard
: Where I worked as a vacuum and internal distribution organizer as well as
Queen Rania formed the starting areas of the entrance
Inward, the shape of the yard changes depending on the nature of the use.
Center The art is used to form central in motion and distribute blanks around it as used
to play by children in some of them. There are four yards in the center:
- The first courtyard is used as a glass-roofed reception foyer.
- The second yard is used as a transitional area to the rest of the spaces.
- The third courtyard is used as a children's activity area and is divided into
offices.
- The fourth courtyard is used as an area of artistic activities and is associated
with the outdoor court
Raghadan Tourist Complex
• Year of implementation: 2004.Project Location:
Amman/Jordan.
• Raghadan Bus Station is an important component of
Jordan's tourism development project plan. This was
a collaboration between the Government of Jordan
and the Japan International Cooperation Agency
(JICA). The project plan is based on a longitudinal
axis parallel to the main street. Vehicle and
pedestrian entrances integrate seamlessly with
movement around the project site. The top floor of
the terminal contains shops, restaurants and a
visitor centre and is accessible through a number of
carefully distributed public staircases. A terminal
building is a linear structure that runs along the
main axis. It can be described as a series of open
and shaded spaces that are visually well connected
to the surrounding urban context. The other vertical
axis intersects the long axis to form a two-level
central square. The lower ground floor is decorated
with a mosque and is connected to the upper floor
by a large staircase. The construction of the
passenger terminal was fragmented in order to
integrate with the urban fabric surrounding the city.
•
 King Hussein Park
• Year of implementation: 8/2007. Location:
Amman/Jordan.
• Following the slope of the site, this design
divides this project into four diverse terraced
gardens that represent some of the main
features of traditional landscapes in Islam. The
four gardens begin with an introverted
courtyard and gradually scale with the slope
of the site. The gardens gradually open to a
citrus grove featuring a network of aqueducts
inspired by the Mosque of Córdoba. These
gardens are directly accessible from Al
Hussein Park of which they are a part. The
project is hidden by an empty border wall
from a nearby street. Here the project can be
accessed by a gate that takes the visitor
through an indirect entry corridor. This broken
entrance, a transitional space, allows the
visitor to disconnect from the outside world
and prepares him to discover the gardens
hidden behind the walls.
 Conclusions about the work of architect
Ayman Zuaiter:
•
Arab-Islamic architecture and the original social values associated with it were a major reference for his design
works

He used the inner courtyard as a main element in most of his works and made it a prominent and clear element
for him
Its importance, both in its area and in its location, which is usually in the middle of the building (central).

Eng. Ayman Zuaiter was distinguished in his ability to create more than one vacuum used as a courtyard, but he
did not change
on its shape or add new elements to it and the fountain was a key element in it.

The courtyard was functional and was often surrounded by spaces and activities on all its sides

Zuaiter considered the courtyard a functional space for preparation, whether in gradation or movement and
moving from outside to inside and in the importance of the courtyard environmental from providing ventilation
and lighting
Fraouq Yghmour works

Born in Hebron, he completed his university studies in Germany in

Bauhaus. Dr. Farouk Yaghmour established Yaghmour Architecture
Office in Amman in 1982.
By 2003, he established branches in Sharjah, Bethlehem and Dubai.
* Worked in academic work at the University of Petra, the University
of Jordan, and the German Jordanian University

He founded Yaghmour Engineering Consultancy Company in 1982-83

in the fields of architecture, design, planning, restoration and
integrated design to produce projects related to the local
environment.
The architecture by his point of view is:
An embodiment of the relationship of architecture with the earth, light
and stone and the changing shades between them to add various
experiences between the buildings and environment or between the
multiple ideas with their interdependence and conflict.

At first he was influenced by Bauhaus, but now his architecture

belongs to its environment, a direct influence from traditional
local architecture, he always tries to combine vernacular and
modern contemporary and postmodernism in some works.
The most important projects that have been
implemented:
Villa Walid Marqa
Abu Ghraib Residential Complex
Villa Labib Hamdi
Villa Fatayer
Villa Al-Bitawi
Joshua Mosque
Villa Duden
Villa Mohammed Mesbah
Villa Kamal
 Al-Bitawi House (
The Beginning )

The beginning is lively, groping for

local constants to blend it with the
spirit of contemporary with a simple
mass that embraced an interior
courtyard with its own specificity.
 Project: Villa Al-Bitawi

Emphasize the entrance using by connecting the two blocks

with each other and using colored stone to express some
functions, including the entrance and use the lights to
emphasize the entrance
• Give it the color and movement
of the entrance and the bridge
connecting the block as an urban
link with the street
• We also note that he
emphasized the entrance in a new
style using stone where it was
carved in the void
•
•He used Ablaq stone at the
beginning of his residential
projects, where this beginning
is characterized by brave
experiments with stone
blocks, with the joy of color
and the mixing of ideas.
•
 ‫فيال فطاير‬

‫فيال سكنية مكونة من ثالثة طوابق ‪ ،‬الطابق األرضي يضم المدخل‬

‫ومنطقة الضيوف والمطبخ والساللم الداخلية التي تربط غرفة‬
‫المعيشة األرضية بالطابق األول و في المنتصف منطقة النوم في‬
‫ذلك الطابق‪ .‬يشمل طابق التسوية الخدمات باإلضافة إلى شقة‬
‫الضيف الصغيرة‬
‫وبعد دراسة المواد الحجرية للمنازل العمانية القديمة ‪ ،‬كان من بين‬
‫النتائج التي توصل إليها المصمم الدورات الملونة المخططة‬
‫واألحجار الملونة الوردية ‪ ،‬واستخدمت هذه العالجات للتعبير عن‬
‫أهمية بعض الوظائف‪.‬‬
‫تم استخدام هذه المفاهيم للتركيز على عناصر وظيفية معينة (مثل‬
‫كتلة منطقة المعيشة)‬
 This building blends seamlessly
with the surrounding buildings,
showing the influence of modern
architecture and local architecture
• * Adding color in the main
façade overlooking the street.
• * It shows the style of sculpture
in beautiful proportions.
• *We notice the clustering in the
entrance to emphasize it
 • The designer was attentive to dealing with the site
and other functional matters the living area block is
characterized by its tendency towards good views of the
Villa Fatayer site to express this aspect two other unique blocks were
created and connected on site to another block and
then became the entry area
•
• Interact with the topography of the place
• Ablaq stone was used in it
• Pay attention to simplicity in clustering
One of the beautiful works of Farouk Yaghmour, where •
the idea in this house was the interaction between the
environment and the stone (where behind this house was
a forest of trees), so he benefited from the idea of contrast
in the colors between the tree and the stone, as he added
color to the stone as in his previous projects.
 • Design expresses a set of influences, whether
emotional or rational, on the broad perspective of
Project : Villa Dr. Walid Maraqa
the meanings that will be delivered to the recipient
that express the contextual aspects that the
designer wanted to portray.
Project : Villa Dr. Walid Maraqa

*The main area houses the reception area, guest room and main
entrance area
* The second area includes the bedroom area also contains a
family living room, kitchen, secondary entrance and the main
turning element leading to the basement and to the roof of the
villa
* The designer focuses on two themes: the relative relationship
between nature and architecture and the direct design context
associated with functional needs to maximize the relationship
between exterior and interior spaces to overcome the
limitations of a small piece
 Treat in this house with the shadows
formed by the walls perpendicular to
nature.

Top View

Side Elevation
• * There is an extension
and communication between
the inside and the outside.
• * The combination of
originality and
contemporary, old and
modern is evident in this
house.
•
Abu Gharbia Residence (Family house)

The spirit of the neighborhood of

the residential building and the
enrichment of social relations
between its residents through
agglomeration in weaving the
relations of its apartments and
external spaces to give a human
measure in the form and content of
the architecture of the apartments,
this building embodies the family
with its interdependence, overlap
and importance in our society.
‫مشروع ‪ :‬مجمع ابو غريبة‬
‫السكني‬

‫يعبر التصميم على التركيز على المجال الزمني باإلشارة إلى‬

‫الماضي ‪ ،‬ومجال آخر يمثل العالقة بين العمارة والطبيعة‪ .‬مساحات‬
‫بين الشقق السكنية ‪ ،‬أنماط المباني المجاورة لتمثيل تأثير الموقع من‬
‫الجيران المباشرين واستخدام الجسر والمدرجات الهياكل للتعبير عن‬
‫السياق األوسع لمدينة الخليل‬
‫مشروع ‪ :‬مجمع ابو غريبة‬
‫السكني‬

‫يتألف هذا المشروع من ‪ 5‬شقق سكنية مقسمة على ‪ 4‬طوابق‬

‫نتشر الشقة األولى في الطابق األرضي ‪ ،‬مقابلها هي الشقة الثانية التي تقع‬
‫في طابقين ‪ ،‬والشقق األرضية بها مدخل ومنطقة ضيوف ومطبخ ‪ ،‬يأخذنا‬
‫هذا إلى الطابق األول الذي يحتوي على شقتين ‪ ،‬واحدة تنتشر أيضا في‬
‫جميع أنحاء الطابق األول والثانية تحتوي على منطقة غرف نوم في الطابق‬
‫الثاني ‪ ،‬والمدخل ومنطقة الضيوف والمطبخ كلها في الطابق األول‪ .‬تم‬
‫تخصيص الطابقين الثاني والثالث للخامس التي هي دوبلكس أيضا ‪ ،‬حيث‬
‫تكون منطقة الضيوف ومساحة المعيشة والمطبخ منفصلة عن منطقة غرف‬
‫النوم في الطابق الثالث‪.‬‬
 ‫التحليل والنتائج‬
‫‪-1‬التأثير على مجال المعنى الواسع ليتم تسليمه إلى المتلقي عاطفيا وعقالنيا (العالقة بين العمارة والطبيعة)‬

‫‪-2‬إنشاء مساحات تربط المساحات الخارجية والداخلية للتغلب على محدودية المساحات الصغيرة‬

‫‪-3‬ركز المصمم على دراسة المواد الحجرية في المباني العُمانية القديمة‬

‫‪- 4‬التأثير على المتلقي بمجموعة واسعة من األفكار و ربط المشروع بالموقع‬

‫‪-5‬تتماشى الهندسة المعمارية في جوهرها مع األشكال الطبيعية‬

‫‪-6‬التوسع في المجاالت الفكرية والمعمارية بدال من التقيد بالمتطلبات الوظيفية والموقعية‬

Stone cutters ( walls) with
openings
The interior divisions of the villa: 1 - general
space (guests) 2 - semi-general spaces 3 -
special spaces.
we note the separation of spaces and their
identification by users separation of areas
with prominent stone cutters from the
building
 • The designer was attentive to dealing with the site and other functional
Project: Villa Dr. issues, where the living area block features good views of the site to
express this aspect and two other unique blocks have been created and
Fatayer connected on site to another block to focus on the entrance area of the
house.
Al betawi house
Modernity of ARCHITECTURE
Amman
MEGA PROJECTS IN JORDAN
 Al Hussein Sports City

• It was established in
1964 and is the first
sports entertainment
venue in Jordan that
contains stadium, sport
playgrounds , gyms,
gardens, theater and
other activities.
• Designed by the
Belfast-based
architectural office
Munce and Kennedy
1962-1968
• Amman stadium
• 1968The first stadium in Jordan with 25000 seats- now 35000.

Designed by the Belfast-based architectural office Munce and Kennedy

1962-1968
 • Designed by the Belfast-based
architectural office Munce and Kennedy
1968
Royal This sizable theatre building, which is

Cultural part of al-Hussein Youth City Complex

(also known as the Sports City), is
characterized by its recognizable
Palace pointed roof that emerges from a
concrete slanted base. It has hosted
several important national and regional
cultural events over the years.
• The Palace of Culture is the most iconic building in the complex and
resembles a “winged tent”—the tent being a symbol of Jordanian
hospitality. It has 2,227 seats in a fully equipped theater space. It also
includes a smaller space used for formal events and is suitably finished
in colored glass and white Jordanian mar-ble. The structure of the
Palace is made iconic by its sloped walls, sloped roof, and large
clerestory win-dows running around the perimeter of the building. It
has been reported that this structure was originally intended to be a
basketball hall, but was adapted as a theater space during project
implementation.25 The building calls to mind more ambitious projects
in the UK, such as the Commonwealth Institute (designed by Robert
Matthew Johnson-Marshall and Partners and completed in 1962), and
the more relevant Dub Sports Pavilion designed by Adair Roche in
1962, which share the zeitgeist of experimentation with reinforced
con-crete through the use of hyperbolic paraboloid roofs and curtain
walling of the exterior. However, in the case of the Palace, the
structure is made humbler and more affordable; the roof, despite its
massive appearance, is made of a steel truss structure covered in
corrugated aluminum; the sloping wings of the “tent” are of cast-in-
situ reinforced concrete, but do not support sub-stantial loads, beyond
buttressing the main reinforced concrete post and beam structure.
Despite the unique form of the building, its structure is quite
straightfor-ward as local construction labor was basic at best, and
advanced machinery totally absent. Although primary building
materials were already available locally, major metal and truss
elements were imported by sea, while the rest of the construction
components were cast in situ.
 Martyr's Memorial Museum 1977

• Architect : Victor Bsharat

One of the first monumental buildings in Jordan,

consisting of a white cube-shaped building
surrounded by a black line adorned with Quranic
verses in gold
Sarh al-Shaheed, The Martyrs Memorial, sits
like an acropolis on the hill overlooking the
capital city, Amman. From the outside it is
austere, presenting an almost featureless
façade of gleaming white stone broken only by
a band of polished black basalt inscribed with
gold lettering; words from the Quran about
martyrs and martyrdom.

Built on the orders of the King Hussein bin Talal, the father
of modern Jordan, it was designed by the Jordanian born
architect Victor Adel Bisharat and inaugurated on 25 June
1977, a date that coincided with the 25th anniversary of
nation building under the king. The design of the building
means that visitors are shepherded ever-upwards, climbing
to the higher levels of the museum. This carefully
choreographed movement symbolises the transcendence of
martyrs’ spirits. The building’s large interior space and
external appearance are a style-reference the Ka’aba, the
holiest place for Muslims, in Mecca
• The design and implementation of the building was
accomplished with Jordanian expertise and skills Royal
Engineering Corps in cooperation with local companies.
•
• Martyrs' Square in the
Martyr's Memorial, in which
the names of the martyrs of
the Jordanian Armed Forces
are displayed, in addition to
the seven-pointed star that
overlooks the tomb of the
Unknown Soldier.
 • The passenger building at that time consisted of two twin buildings, each building
containing a hall for departures, another for arrivals, and a hall for transit passengers, in
Queen Alia which travelers gather to enter the gates leading to the planes, in addition to offices and
service halls and support services.
Airport • Each building consisted of three floors of an area of ​62,000 square meters, and a flyover
connecting them between the two middle floors where the free-market area was located,
1980-1983 and each building overlooked a separate aircraft park, and each building had five gates for
the passage of passengers from the plane to the building directly through bridges and vice
versa, in addition to a gate for each building to connect passengers.
QUEEN ALIA
AIRPORT

Queen Alia International airport was Officially opened in 1983 ,

building activities started three years before
Queen alia airport

Old site plan New site plan

Contemporary architecture after
2000
 Contemporary
Architecture in Jordan
2000 and beyond
• Jordanian cities have expanded significantly. Instead of increasing the
green area, the area of concrete blocks has increased, construction have
expanded at the expense of agricultural land, especially in Amman. This
extension was a natural result of the rapid population increase in the
country.
• From a population of about 3.7 million in 1990, it has now risen to 11.0
million. This increase is caused by wars in the region and the resulting
waves of displacement and asylum in Jordan.
• From the 1990s to the present, these changes led to suffocating
traffic congestion and the inability to find solutions to traffic in
major cities.
• There have been significant changes in social and economic
lifestyles and shopping places, foreign restaurants and more have
emerged.
• Jordanian society has witnessed a marked increase in migration from
rural to cities, due to the availability of educational, health, employment
and economic growth attractions in cities, which have contributed to the
growth of cities, but this migration has had negative effects on high
population density in cities, increased demand for food, high prices, social
and housing problems and traffic congestion.
•
• Modern technologies and new building materials appeared in
buildings and the most widespread materials were iron, glass,
aluminum sheets, concrete and stone and used modern techniques to
process and construct exterior walls in different methods.
Urban and social problems in
this period

• One of the most important urban

social problems in Jordanian cities, the
most important of which is Amman, is:
• - The significant boom in population
and urban growth as a result of
internal and external migrations (wars
and conflicts in neighboring countries)
• . As the population increased, cities
faced several problems, including:
• the emergence of informal areas,
• Housing shortage,
• Insufficient water resources
• Traffic problem within the city.
• Rapid social and cultural change marked the end of
the 1990s‟ till mid 2000s‟ due to globalization and
rapid geo-political transformations.
• Globalization was supported by the rise of
international neoliberal values and facilitated by the
wide spread of digital media. Digital media, the free
mobility of capital and goods facilitated the spread
of a culture of consumption and advocated an
optimum universal character of contemporary living.
• This contemporary image stretched on all scales of
human artifacts and commodities from small-scale
products up to entire urban developments. The rapid
geo-political transformations due to both the Gulf
conflict and the September 11 events affected Jordan
directly; a new wave of immigrants from the Gulf,
mainly Jordanian returnees and Iraqi refugees
concentrated in Amman, brought their lifestyle, as
well as capital .
• This influx of newcomers demanded large scale
housing, which caused boost in residential building
and the construction of high-end residential villas.
• The effect on the local
architecture was immense; on
one hand, Amman was forced
into new urban developments of
a contemporary image to
compete in a world market and
attract capital. Its architecture
was one of manufactured
“sameness” with a universal
mode of expression could be
found anywhere and of an
everywhere; thus, buildings are
reduced into a sort of tourist
post card attractions or “free
floating signs” . On the other
hand, a new “universal”
architecture that expressed
formal manipulation and an
understanding of what
contemporary theory of
architecture started to emerge
with practicing young architects
• As can be seen from the review, Jordan, in the
last forty years, went through dramatic changes
in its socio-economic conditions resulting in
various shifts in its cultural environment.
• Accordingly, its architecture changed in
response to the new cultural landscape; looking
around Amman, a mixture of buildings ranging
from small scale houses to high rise buildings of
various functions and large housing projects
following different architectural styles and
schools of thought and varying between modern
styles and traditional one, from aesthetically
pleasing to visually displeasing and from
culturally acceptable to totally alien can be
found.
• More recently, rapid urbanization, technological
advances, and widespread use of digital media,
resulted in more diversification of Jordan‟s
architectural built environment, depriving its
architecture of its cultural and regional identity,
and leading to a break in the continuity between
its inherited morphology and the more recent
architectural developments
International Architecture
• This trend refers to architectural designs that employ the vocabularies of
modern architecture; simple rectilinear designs, the use of modern material,
structural honesty, horizontal windows, pure forms, etc. This trend started in
Jordan after its independence and even in the earlier phases, especially with the
process of development in order to become modern. Since the idea that the
west knows better, the model of the west must be followed; modern
architecture to express a modern society
• . Due to lack of any local models, the use of modern architecture was a ready-
made response to designing large scale projects such as universities, hospitals
and large-scale housing projects in which the traditional architectural was not
able to cope with.
• This trend is also very clear in the architecture of banks and office buildings
especially with the glass box and extensive use of glass.
• Buildings conforming to this group are characterized by the simplicity and Arab Bank building
clarity of forms with the elimination of detailing and decoration, orthogonal
designs with a visual emphasis on horizontal and vertical lines, materials
honesty in expression and structure, the visual expression of structure, the
extensive use of industrially-produced materials and the adaptation of machine
aesthetic, and the illusion to the International Style of modernism.
 Eclectic Architecture
• Eclectic architecture is an architectural style that has its roots in the nineteenth and twentieth-century
architecture. It refers to the use of a mixture of elements from previous historical styles and schools of thought
in a single piece of architecture. However, this is often without conventions or rules dictating how or which
elements to be combined. Here, everything goes and there are no rules or definite schools of thought to
govern the design process. Most of the architectural built environment in Amman belongs to this trend; a
pitched roof combined with arches, strange shapes and onion like domes, the use of traditional vocabulary to
express a modern plan, etc.
• The dominant players in this trend are the demands of the clients, the demands of the market, and architects‟
capabilities and desires. This trend is mostly followed by mass production designers and profit makers who
were supporting commercial values as aspects affecting the quality of the produced architecture.
• This trend was most dominant on the period of the late seventies and the early eighties due to the increased
wealth and the need to express this wealth by being different by the means of using different forms, expensive
materials and following different styles.
• Nevertheless, some architects who work in this trend practice a kind of organized eclecticism, where they are
aware of what they are doing, and they do it according the codes of aesthetics and implying a certain
rationality in their design solutions. It should be noted that this kind of architecture results from the freedom
in the architectural expression and from the state of confusion of the society
 • In contrast to what is known as polite architecture, vernacular architecture
relies on the design skills of local builders, not professionally trained, to
respond to local needs and conditions, using locally cultivated building
material, and reflecting local traditions. It is a trial to revive the image of the
village architecture found in the rural areas of Jordan with the use of the
vernacular elements and treatments such as the use of local building like
rough stones and mud, spontaneous massing and the manipulation of the
opened and closed spaces.
• Most attempts in neo-vernacular architecture falls under vernacularism an
approach to bringing a new life to vernacular heritage for new and
Neo- contemporary functions.
• The widest area of the application of this approach is obviously the
Vernacular architecture for tourism and culture.
• In that sense, this trial did not exceed the renovating of some of the existing
Architecture buildings for private use or the renovating some villages with the use of
modern technology and hiding it behind a layer of vernacular treatments to
give the required image for commercial purposes. It could be said that this
trend did not exceed the theme of fashion for the recreational purposes for
the use of the rich due to the large expenses it needs and to the loss of the
traditional craftsmen who were able to produce this type of architecture.
 This concept assumes the presence of several parallel
modernisms, not a singular one, each with its character and
history. Here international modernity is used to uncover the
real modern identity that with unique responses to climates,
places, and cultures. Thus, the corner stone of this approach
is accepting the modern architectural theories, aesthetical
values and technology and adopting it to the local context in
which it is used.
Through the choice of the modern theories-based on the
social values and the norms of the community-that are
suitable for the local context and the modification of the
regional architectural vocabulary in order to suit the modern
times, architects try to give form to their buildings.
This concept of regionalized modernism is very close to but
not exactly equal to Abstract Modern Regionalism where
modern architecture incorporates the abstract qualities of
Regionalized regional architecture such as massing, solids and void,
proportions, sense of space, and use of light seeking to bring
Modernism back to existence the cultural issues.
Al , Quds Insurance Company Building
Al , Quds Insurance Company Building
Office building
Dar Al Dawa’ Company
• It should be noted that the
vocabulary of this style of
architecture is derived from a
regional repertoire rather than
the limited local vernacular
vocabulary or the wide
traditional one, which people
usually refer to as the Islamic
architecture. This trend which is
based on the modern principles
and holds the local tradition
through the images it uses,
managed to produce an
architecture that is aesthetically
pleasing and theoretically
acceptable but still must be
developed more to become a
methodology with principles
rather than a trend carried by
some architects.
Experimental Regionalism

• Concrete modern regionalism refers to the use of design of regional architectural

elements and features in contemporary designs. Authentic regionalism refers to an
architecture that is to finding unique responses to conditions of climate, place, and
culture not necessarily by using design features but by reinterpreting and
transforming values and principles of the past, thus referring to a way of thinking.
Critical regionalism calls for the adaptation of tradition to meet the requirements
of the modern times.
• Thus, experimental regionalism refers to the grounded theoretical manipulation of
regional design and architectural elements to meet the demands of modern times.
The basic point of reference for this trend is the local regional architecture with its
aesthetics, treatments and architectural vocabulary. But since we live in the
modern times, this architecture has to suit the modern times and to reflect the
present time.
• So, architects' experiment with the forms of the regional architecture such as the
vaults, color, typology of openings -double windows with segmental arches and
punches-and other climatic and social treatments such as the courtyard in order to
reach a form that is suitable for the contemporary life and still holds the strong
image of the past, as if they are trying to give a new image of the past through the
manipulation and transformation of its forms. It is called experimental because it
is done by a group of architects who are trying to find a proper image without the
existence of a definite theory behind their work.
Neo-Traditional ( Islamic) Architecture

• Traditional2 architecture is an architecture that takes into account past styles that were prevalent to a region or
area. When one talks about Islamic architecture3, one refers to an architecture style that finds its highest
expression in religious buildings such as mosques and Madrasah. This style is characterized by stylistic
features and elements of design and features of design such as domes, arches, vaults, colored stone
intentionally incorporated to reflect religious believes.
• Neo-traditional Islamic architecture is analogic to Ozkan‟s Concrete regionalism, which copies regional
expressions, elements, fragments, or entire buildings, in a certain region, except for the fact it only builds on
heavily religious buildings that are considered symbolic of Islam. When new buildings are loaded with design
features that have spiritual values or symbolic relevance, they become much more acceptable, owing to the
values attached to the original source
• Relying on traditional architecture takes two forms: the picturesque employment, through borrowing and
copying, of forms and features that became symbols of Islam due to their association with Islamic monuments
such as the dome and the vault, the different types of arches, and the courtyards, among other features that
could be related to what is Islamic. The use of the general rules and principles that lie behind the established
types, which implies the rediscovery of the processes that lead behind the forms in order to be able to produce
new typologies and this is rarely the case
Neo-traditional architecture

‫ مبنى قاعة المدينة‬Amman city hall

[‫جعفر طوقان‬
 City hall
Use of the courtyard in a different and renewed way in administrative buildings
Contemporary Formal Architecture
Contemporary architecture is defined as the architecture of the present day. It is based on the
intention to design and build things that are innovative and different from what was done in the past
or what is usually done mundanely today; it offers a multitude of architectural choices, provided that
they stand out from what is normally done. It breaks away from the processes and ways of thinking
that have become standard. As it is not an architectural movement of a distinctive historical style, it
has a high level of variety; however, this doesn't stop some common traits from being observable
within contemporary architecture. The architecture of this trend aims to create mental exercises or
compositions/ sculptures with a theoretical base.
• Formally speaking, this trend is dominated by the straight line. Overall form is either a pure
platonic form in its generic state or an ensemble of basic design elements and volumes creating
distinctive spaces in-between. These elements are combined according to architectural design
principles .
• Another distinctive feature is the use of new materials or new use of materials like glass, wood,
brick, and metals for both the interior and the exterior. Windows and openings are larger and more
plentiful; besides the horizontal strips, multiple openings and their uncommon positioning,
panoramic windows, window walls, and skylights have all entered the playing field.
Urban projects
• Rainbow Street
• Working with the Greater Amman Municipality, TURATH
undertook a revival project on Amman's famous mixed-
use Rainbow Street, which involved adding a pedestrian
promenade, creating public spaces (including a garden and
panoramic lookout), and adding signage, traffic solutions, and
street furniture. He has also been involved with intangible
heritage research in the area, such as regarding the Rainbow
Theatre/Cinema.
• Street’s design was a middle solution, given that the city would
not agree to full pedestrianization of the street; Daher instead
used addition of cobblestones to the road to slow down traffic,
and he would cite flattening of sidewalks as one of the main
achievement's of the project.
The Rainbow Street (Arabic: ,)‫شارع الرينبو‬originally named Abu
Bakr al Siddiq street, is a public space in the historic area
of Jabal Amman, near the center of downtown Amman, Jordan.
The street runs east from the First Circle to Mango Street, and
contains several attractions from roof top restaurants to pubs.
The street runs in front of the British Council building, as well as
the headquarters of the Jordan Petroleum Refinery
Company and the cinema after which the street is renamed.
Rainbow Street is the location of numerous companies and
shops, including the Wild Jordan Center. It is also home to
important sites from modern Jordanian history, including the al-
Mufti House, the residence of King Talal (Teta Alice's House), and
the home of former military commander and Prime Minister Zaid
ibn Shaker. Souk Jara is located near the street.
Design interventions
(wakalat street)

• The street was rehabilitated in 2007 by TURATH

consultants as led by Jordanian architect-academic Rami
Daher. Original guidelines were prepared by Danish
urban designer Jan Gehl.
• The project included paving the street, planting trees,
regulating commercial signs, and adding benches. The
idea of the rehabilitation of the street was to create a
place in Amman where pedestrians would walk safely
and freely away from traffic. With its completion, Amman
gained its very first first-rate pedestrianized public space.
• It was reported that complaints by local store owners
about undesirable pedestrians "intimidating" customers
led the city to ultimately remove the added benches.