How did you find your way into architecture?
I started studying architecture at AUB in 1955. It’s a funny story actually; I first entered into the school of engineering and at that time I didn’t know the difference between architecture and civil engineering. While at university I noticed some students designing and making models of buildings, which is something I was very interested in, and was told this was architecture; so I decided to shift into that specialization. I had a primitive knowledge of architecture; I thought it was just about building things – the term used in Arabic ‘handasa’ is very general.
Our formation in the School of Architecture at that time was based on rational architecture. This was a movement to abandon the ornate neo classical style, strip buildings of all decorations and use basic functional requirements as a guide for design and for economy. Because of my formation I always lean towards this kind of architecture. I gradually became obsessed with idea of building something different that blends into its surroundings. My favourite quote is from a famous architect, Frank Lloyd Wright, who said, “You build from the place, not on the place”. Most of my work tends to go in this direction.
Following graduation I worked briefly in Amman then joined Dar Al Handasa in Beirut for eight years. Eventually I started my own office in Beirut, then in partnered with a senior architect whose work I was a great admirer of, George Rayyes. He was also a breed of the rational style so we were in great harmony together. The civil war led me back to Amman to start my business here. At that time it was very a good place to be; the country was taking off socially and economically. Today Jordan is undergoing a major economic, architectural and urban transformation, particularly over the past few years, during which there has been an explosion of development and construction activity.
What do you feel is missing from this part of the world that restricts the fostering innovative design and experimentation?
I think we still have a long way to go before I can say that we are really matching the achievements of the more advanced communities. I feel there is a major flaw in our educational system. There is also a flaw in professional regulations. Schools do not provide a very fertile environment for creativity. Our teachers are very traditional and don’t seem to explore new horizons. Our universities can’t afford to invite famous architects, or attract good local architects to dedicate their time tteaching. So a lot of theoretical information is fed to student as professors are not encouraged to practice outside. Another aspect is training of new graduates; the association of engineers and architects do not have proper training regulations, so this must be instituted by the association. If you look at architecture in the Arab world, very few good buildings are designed by Arab architects, and this is the result.
How has Amman’s architectural landscape changed over the past decade? Where do you think it should be headed?
In comparative terms, I find Amman is doing much better than most Arab cities in architecture. The city’s transformation began in the mid-70s, when a wave of talented architects began to move back here. An interesting dialogue developed among these architects and this yielded good results. I have attended a few conferences about architecture in the Arab world with projects presented from different Arab countries, and the general conclusions were that Jordan is top among these countries as far as genuine architectural products are concerned. The architecture Aysha Bakkar Mosque that people see City Hall Dunes Club in Jordan belongs to Jordan more so than elsewhere in the region. The fabric is very harmonious; you see many attractive buildings that are new, different, but which belong to this fabric. In this way I find Amman is going in the right direction. I think the new master plan for Amman will also enhance this direction.
A new trend in Amman is urban design projects, such as the Abdali project, which can be very good if implemented successfully. Such projects can create total environments with buildings, pedestrians, and commercial centers blended in a harmonious way. I am looking forward to seeing the Abdali project materialise to set an example for Amman.
What is your role in the Amman Commission and what are you trying to achieve?
The commission is an advisory committee to the Mayor of Amman, whose role is to initiate ideas, and advise and make recommendations to the mayor, as well as suggesting how to implement these recommendations and following up on them. Through my work with the commission we have encouraged the Greater Amman Municipality to invite specialists in several areas of planning, architecture and landscaping to work towards developing the master plan, improve the existing urban fabric to make it more human-friendly, and design parks in the city. The results of these efforts will then be good examples that local architects can be inspired by. Great credit goes to the mayor and the general direction he is taking in applying brakes on several large projects that have been proposed, which don’t fit in with the surroundings. This is a city that will live for thousands of years so we must develop it to reflect a more cultural image than elsewhere in the region.
Tell us about one of your latest designs.
I have designed a project that will be very visible in Amman, and which is very controversial. It is now under construction – the Jordan Gate. For this I tried to apply a minimalistic approach. These are the first buildings in the city that are 40 storeys high, and because the fabric around the structures is low rise, cubistic, stone, I felt that the base of these towers must fit in with their surroundings. Therefore I tried to dilute them as much as possible by making them two basic, almost transparent crystals that stand as a monument. They are simple, with no details, just oblique angles and sharp edges to accentuate their lightness. The towers are covered with reflective glass to mirror the sky, its clouds and colours, so that hopefully the building becomes part of the sky, and is not imposed on the sky.
Throughout your career, which of the buildings you’ve designed is the most significant or personal to you and why?
I always feel that all buildings one designs are like his children. In each category, if you feel you’ve done something new or different, it becomes dear in that way.
In the category of smaller buildings, closest to my heart is the SOS village in Aqaba, which won the Agha Khan award. First of all the theme of the village is compassionate, taking care of orphans. So when designing it, and to do something really good, you have to feel how children would react to the space, the walls, colour, etc. This was one very exciting aspect of the project. The other was that the project came at a time when Aqaba was in danger of being transformed into a copy of Amman despite the fact that its ecosystem, geography, topography, are all very different. Queen Nour was aware of this unpleasant transformation and initiated a committee, of which I was a member, to provide recommendations for Aqaba’s urban development. Shortly after that I was given the village project, which gave me the opportunity to implement those recommendations. The stone we used was collected from the earth around the site, and the building technologies used were inspired by the few old houses that remain in Aqaba. In this way I felt this was a very exciting experience.
Another interesting project is Dunes Club, which set a new trend. It is the first time the reverse side of the stone used for Amman’s white buildings was used. Normally this is the face in contact with the earth when cut from quarries, and has warm brown and yellow tones. Using the stone in this way, with natural textures, allowed the structure to blend nicely into its surroundings.
Of my smaller projects I designed a little mosque in Beirut which is completely unlike any other mosques. It has no dome or minaret and is a very modern structure. It is irregular because of the site it was built on, which forced certain aspects on the design. It was very controversial at the start, however I met with the Mufti of Lebanon at the time and explained the concept behind it, after which he accepted it.
A project I’m very proud to be involved in is the Jordan Museum. The nice thing about it is that we tried to express the relationship between archaeology and geology very symbolically. I tried to express the layering of history, so you can see three layers in the buildings; with the two front layers the stone is not horizontal but inclined, to symbolize the faults in geology. The graduation from rough stone to smooth illustrates the stages of Jordan’s history, from primitive to the beginnings of the state, to the establishment of institutions. It is due to be completed in spring 2008.
The City Hall building in Amman is also interesting, because it’s a joint design – I worked with colleague Rasem Badran in designing it, which was exciting as the general impression of us is that we work in two different ways. It was interesting to see how ideas converge when you think rationally and logically. It was a good experience with a unique result.
I’m really looking forward to seeing the Jordan Gate finished as it is an experience. In architecture you can never tell exactly how the result will turn out; you can envision and imagine, but there is always a surprise at the end. I hope it will be a good surprise!!
From an architecture view, what is your favourite of Jordan’s ancient relics?
I very much love Qusayr Amra. It’s modest and sits in its surroundings very nicely. Of course Petra, Jerash, and other examples are great, but I love the modesty of Amra.