GRADUATION PROJECT - JUDE ZOUBI by judezoubi1

GRADUATION PROJECT JUDE ZOUBI

PROJECT TYPE Adaptive Reuse PROJECT YEAR 2020 – 2021

SUPERVISORS Professor Kamel Mahadin Architect Ihab Amareen STUDENT Jude Zoubi 1710188

ACKNOWLEDGMENT

The completion of this project could not have been possible without the guidance and persistent help of Professor Kamel Mahadin, who has the attitude and the substance of a genius. A debt of gratitude is also owed to Architect Ihab Amarin for his insight and knowledge, and whose enthusiasm for “Heritage Conservation” had a lasting effect. And to my father Thank you for getting me my first sketchbook.

TABLE OF CONTENTS

Introduction

Topic, Significance, Research Question, and Project aims.

Literature Review

Research, theoretical thinking, study of the issue and analysis.

Site Analysis

Buildings Documentation

Design Project/Proposal

Conclusion

Analyzing the social, historical, climatic, geographical, and Infrastructural characteristics of the site.

Site • Program • Concept

Analyzing the site as whole, analyzing the buildings, and decision of conservation actions

Accomplished design innovations.

INTRODUCTION The tribalism debate is at the heart of Jordan’s struggle to sustain and cultivate a national identity. This project explores how tribal identities have affected the urban structure of Jordan. Causing urban segregation, strengthening differences, and the creation of separate public spaces for the socialization of different communities. Bearing in mind all these aspects, the main aim of this project is to escape from those “communization” and fragmentation strategies and to promote a public space with genuine central and unifying functions, able to reinforce socio-cultural cohesion within Jordan.

RESEARCH QUESTION The tribal system is a sensitive and broad topic, so the approach is to narrow my focus down to: How to form a connection between the diverse communities of Jordan?

IMPACT For my final project, I want to re-define the concept of Al Madafa. From a space that is meant for the socialization of specific individuals, to a space that is meant to create unity, harmony, and equivalency. A space where people can feel greater self-acceptance, a sense of belonging and acknowledge diversity and differences. By creating spaces like this, it allows society to become more empathetic and supportive toward each other, which creates a more positive and secure environment throughout communities.

T R I B A L I S M THROUGH H I S T O R Y A tribe is a society in which groups of men and women who are perceived to be related by birth or marriage come together to control an area and its resources. Bedouins have traditionally placed great significance on the idea of honor. A minor harm to its member was a harm to the whole tribe; similarly, the whole tribe was accountable for the actions of a related member. The slights would be cleared with proper retaliation or mediation to achieve reconciliation based on adequate compensation.

The nomadic Bedouin people where living in the Arabian Peninsula way before the advent of Islam. Bedouin families who believed in polytheism placed great emphasis on relative affiliation, with each family grouping together under the tribes. Although families were made up of family members, the tribe could take an unrelated member and give them a family status. The community was patriarchal, inherited through the ranks of men.

Outsiders were considered rivals or adversaries. The tribes shared common sense of morality and granted man ownership. Tribal warfare was common among the Bedouins, and war was highly regarded. The harsh living conditions on the Arabian Peninsula have put great importance on family collaboration, and it has strengthened the family system.

The Great Skulls of Arabia As maintained from ‘The dwelling places and wanderings of the Arabian tribes’ book, by Heinrich Ferdinand Wüstenfeld, Tribes are separated into several divisions called Arab skulls ()‫)جماجم العرب‬ according to Arab traditions, which are described in the traditional custom of power, abundance, victory, and honor. A few of them split out, eventually becoming distinct tribes (sub-tribes). The name "skulls" comes from the fact that the skull is the most essential component of the body, and every Arab tribe is descended from these great tribes.

T R I B A L I S M IN J O R D A N According to the study “Jordanian Tribal Violence: Historical Context and Current Problems” conducted by the ‘JCSS’, the tribal structure in Jordan was founded long before the arrival of Islam, or even Christianity. The tribes were shaped and organized thousands of years ago. Tribes in Jordan were clusters of related families claiming ancestry from a supposed founding ancestor.

Surrounded by this overall loyalty, however, lineage from middle descendants defined a number of ranks of lesser groups within each tribe Tribes people labeled their system as segmentary; that is, the tribe is similar to a pyramid made of rising divisions, or levels, each of which was both a political and a social group. .

FROM T R I B A L I S M TO N A T I O N A L I S M The change from a very nomadic lifestyle, centered on agriculture and livestock, to a more powerful government introducing military service, hospitals, and education in schools, tribes gradually began to live a life of self-sufficiency. The tribal system is still officially used in Jordan to make things "smooth" and as a form of social identification. For many people in Jordan, tribes offer a primary source of access to basic government services and benefits through ‘Wasta’, connected to a personal communication network. Wasta can mean the average person who receives his favor or the act of pleading on behalf of someone else to get the desired result or good. Instead of being empowered as corrupt, the ‘Wasta’ serves as a social and economic stimulus in the most common interactions between government and society. Through such practices, the state strengthens the structures of society by relying on - thus empowering - tribes to take care of their own. In the rural areas of Jordan, the tribal system is more visible and plays a bigger role in people's lives than in cities.

From ‘Uneasy Lies the Head: The Autobiography of His Majesty King Hussein I of the Hashemite Kingdom of Jordan’

THE PITFALL Although tribes began adopting more sedentary lifestyles, Bedouins place great importance on the concept of honor till this day. A minor injury to a member is an injury to the whole tribe; The slights would be cleared with proper retaliation or mediation based on adequate compensation. The “Jordanian Tribal Violence: Historical Context and Current Problems” study conducted by the ‘JCSS’ displays the total number of tribal fights in 2009 which is around 224. Tribal violence and disputes are widespread in Jordan, according to this study, and are not limited to a specific spectrum of people. It began as individual conflicts and then spread to tribes, on university grounds between students, in the form of rebellion, as well as affecting police and local authorities.

The number of tribal fights in each region. Region:

# Of Fights

% Of Total Fights

Amman + Central Region

117

54%

Northern Region

16%

Southern Region

30%

"Whatever harms tribes is considered harmful to us. Law will remain closely connected to norms, customs, and traditions. . . Our traditions should be made to preserve the fabric of society. Disintegration of tribes is very painful, negative and subversive” -King Hussein of Jordan

THE MAIN TRIBAL INSTITUTION

THE GUESTHOUSE Al Madafa is a traditional type of guest house that emphasizes Sheikhs' social, economic, and political role and function as traditional leaders, providing them with a place to exercise their power and influence over tribe members, as well as a place for tribe members to strengthen their ties and obligations. Furthermore, the guest house is a traditional institution where tribal leaders congregate and tribalism is promoted as a mindset. It is a symbol of integration for the tribe, as well as a means of sustaining a group political identity by creating a shared sense of practices. The Madafa played a significant social, economic, and political role in Jordanian life, since it represented the structure of local politics in the villages.

THE NEW FORM OF GUESTHOUSE The development of transformation and social transformation did not erase AlMadafa entirely. What occurred was that the form of this social institution was modified and became Diwan. The guest house's layout and functions shifted from those of a traditional political institution and gathering place for all tribal members to that of a Diwan. The Diwan, as a tribal institution, is a new type of guest home and traditional political institution, characterized by a shared identification with the formal political framework. The guest house has come to represent and embody not the owner of the Madafa's personal identity, but rather the tribe's identity, emphasizing the communal nature of the Diwan's activities. The Diwan is where the tribe's whole membership gathers for various social gatherings.

BACKGROUND It should be noted that a study carried out in Irbid town of Jordan spoke about a number of problems related to the Madafa. It is a master thesis, which targeted the association among the tribe and state in a single hand and the Madafa in the second. The study revealed that an important transformation has taken place from the Madafa in which the relationship was between the 'ego' (the owner of the Madafa) and the 'other' (the stranger) to a place where the relationship is between 'us' and the 'others': us refers to all members of the tribe, and the others refers to strangers. Moreover, the study discovered that nowadays all individuals of the tribe own the Madafa, while formerly it was owned solely by the sheikh. AL MADAFA

AL DIWAN

IDENTIFYING THE PROBLEM We established that the guesthouse (the main tribal institution) was affected by the country’s change from tribalism to nationalism; this process of modernization changed the shape of this social institution from Al Madafa to Al Diwan. Luckily for me, Al Madafa and Al Diwan of Sheikh Mithqal Al Fayez are located next to each other which helped me to compare between the two. After researching and documenting these two institutions, we concluded that even with the process of social change, one thing common between them is that it is very clear who the space belongs to and who is the stranger.

Diwan Al Sheikh Mithqal Al Fayes

Madafa of Al Sheikh Mithqal Al Fayes

SOLUTION The objective of this project is to create a new guesthouse concept. What was once a space that belonged to a particular tribe or group will be reformed into a space that belongs and tells the story of the entire community. a public space where everyone is a stranger without social responsibilities and roles and where people can feel a sense of belonging in a highly segregated society. EXISTING GUESTHOUSE CONDITIONS

NEW GUESTHOUSE CONDITIONS

01 03

Al Fayez Tribe & Umm Al Amad Village SITE ANALYSIS

THE BANI SAKHR TRIBES The Bani Sakhr tribes, whose territory encompassed a large section of the Balqa'a region, including the zones to the north and east of Madaba, were thus able to dominate the region's most fertile land. Among these families, the Al Fayez especially were able to manage the region's most agricultural soil. They were also able to enter the exchange trade and urban economy sectors as a result of their farm products, which had been encouraged by Madaba's development. Because of their location in Umm Al Amad, north of Madaba, along the road to Amman, the value of their land has dramatically skyrocketed. All of these elements contributed to the Fayez's and, to a lesser extent, the Bani Sakhr's cohesion, as well as their economic and political influence. The huge villas in Umm Al Amad, as well as the high number of people who have reached significant positions in the military, civil service, and politics, provide visible evidence of this political and economic wealth (with two prime ministers). Needless to say, the majority of Bani Sakhr tribal branches did not enjoy the same level of prosperity and success as the Fayez, but their affiliation with the same group positioned them at different levels on the social ladder.

THE HOUSE OF FAYEZ As previously stated, the political tribe Al Fayez is the leader of the prominent Jordanian clan Bani Sakher. The family's influence and reputation in the area were at an all-time high under Fendi Al-Fayez, who led the tribe in the 1850s. He rose through the ranks of the Bani Sakher to become their commander. Sattam, his young son, was in charge of the tribe, with the goal of developing the lands and adopting a more sedentary lifestyle. Mithqal Al Fayez, Sattam's son, was a constant political force in modern Jordan. Mithqal was the lone owner of private land in Jordan in 1922, and the family was the largest landowner in Jordan, owning parts of modern-day Palestine.

Mithqal Al Fayez with King Abdullah I, and King Talal of Jordan.

W H O I S M I T H Q A L A L F A Y E Z? )1885-1967(

HIS BIRTH AND UPBRINGING He was born in 1885, and lived his youth in the custody of his uncles, and when he reached the age of nearly thirty years, he returned to the Deira of his family (Al-Fayez) from Bani Sakhr, to become after that the sheikh of the Sheikhs of Bani Sakhr, and due to the rise of Sheikh Mithqal Al-Fayez with the protection of his maternal uncles from the Rolla, he learned a lot from the life of the desert. This gave him many qualities, in addition to his graceful physical build, he also learned equestrian arts and original Bedouin customs, so that he used to speak in the Rolla accent for a long period of his life. After Mithqal returned to his family, he married the widow of his brother Mrs. Shaha Al Bakheet. She was widowed after the killing of his brother Shibli, then he had his son Sultan, and by 1917, his brother Sheikh Fawaz Al-Fayez passed away, and the sheikha was taken over by his Fawaz’ son Mashhur, but it did not last for Mashhur, as he died early, so the sheikha moved to Mithqal.

HIS CHARACTERISTICS AND QUALITIES Mithqal was endowed with great intelligence, a brilliant vision of chivalry, managing the affairs of the clan with wisdom and discretion, turning a blind eye to the wrongdoing of some as they did not anger him in small matters, he owned a large area of land that provided with yields, which was the main source of people's livelihood. He relied on a policy of distribution to the poor and needy, as well as providing the sheikhs of other Jordanian tribes with supplies and grains when they need it as an expression of the collective feeling of mutual and common destiny, especially in the face of the high Ottoman taxes and the continued confiscation of the tribes' crops and supplies and their departure to escape Ottoman oppression outside their lands. This is what made tribal sheikhs and their people testify to Mithqal’s generosity and kindness. NICKNAMES HE IS BEST KNOWN FOR: • ‫راعي البلها‬ • ‫مثقال باشا‬ • ‫شيخ المشايخ‬ • ‫أبوسلطان‬ • ‫أخو ذهيبة‬

M I T H Q A L P A S H A I M P R I S O N S A B R I T I S H G E N E R A L! A dispute arose between Mithqal al-Fayez and one of the neighboring clans over a land, the clan raised its matter to the government, so the court requested Mithqal to stand trial but he refused. However the British commissioner and inspector of Transjordan gendarmerie, Beik Pasha, decided to humiliate Bani Sakhr in the person of their sheikh, so he went to Umm al-Amad to arrest Sheikh Mithqal. Mithqal detained him in the hay warehouse but did not mistreat him, he then declared in Umm al-Amad their independence from the British mandate. After Sharif Ali bin Al-Hussein AlHarthi stepped in to mediate peace, Sheikh Mithqal released the british general in honor of the Sharif.

The hay warehouse (Al Bayka), Um Al Amad.

The spot where the British general was detained.

Al Sheikh Mithqal Al Fayez

The first harvesting machine in Jordan, working in the lands of Sheikh Mithqal Al Fayez

HIS DEATH

Sheikh Mithqal Al-Fayez died in 1967, at the age of eighty-two, after a life full of great deeds. His death constituted a great loss for the Jordanians, given the great role he played and the position he achieved throughout his life, he was buried in the village of Umm al-Amad. Despite the fact that it has been decades since his passing, his memory among the people still lives on, and will remain as long as there is good among people.

UMM AL AMAD VILLAGE The place Mithqal loved and spent most of his life in, and the home of Al Fayez tribe. Umm Al Amad is a village located north of Madaba, along the road to Amman.

URBAN PRIMARY TYPOLOGIES OF UMM AL AMAD

The black circle shown in the diagram is the node, which is the centralized village hub. It is high in commercial and residential density, it also includes the location of Al Madafa of Sheikh Mithqal Al Fayez (The site of the project).

AGRICULTURE IN UMM AL AMAD Umm Al Amad is in the middle of fertile plains to the north of Madaba. This is reflected in the diversity of its agricultural land, irrigated and rain fed crops and orchards. Most of its population work in the land, and still highly depend on agriculture and livestock. They produce diverse types of fruits, vegetables, grain, and have sheep, camels and goats.

ARCHITECTURAL CHARACTER OF THE AREA

LOCATION The site is located along the Madaba highway in the hub of Umm Al Amad, south-west of the new Diwan of Mithqal Al Fayez and north-east of Mithqal Al Fayez’ Mosque. The site encloses 4 buildings with an area of approximately 7,500 m2. The main building is the guesthouse with )‫(البايكة‬ on the ground floor where Al Sheikh Mithqal imprisoned the British general, and )‫ (العلية‬on the second floor. The other 3 buildings are hay warehouses situated closely together. Existing buildings around the site WAREHOUSE C

THE GUESTHOUSE WAREHOUSE A

WAREHOUSE B

SITE

DOCUMENTATION

It's vital to understand the outside influences that shape a structure in order to grasp it. Buildings in an urban environment must be evaluated in terms of urban continuity. Because urban space is one of the most important drivers of the architectural shell, which is an interface between the building and the city, the link of building mass to the urban space within which it is defined is regarded to be the first phase of contextual analysis. The location and orientation of the building's entrances are also determined by the urban infrastructure. It's necessary to look at the urban spatial envelope, predominant paths, density, important buildings, structures, and landmarks around the building when analyzing the connection between the building and the urban space that surrounds it.

DOCUMENTING THE SITE AS WHOLE

DOCUMENTING THE GUESTHOUSE

Context

Spatial Circulation

Circulation

Structure

Landmarks

Geometric Relations

Spatial Relations

Views

EXISTING GROUND FLOOR PLAN

EXISTING FIRST FLOOR PLAN

RELATION WITH SPACE

PEDESTRIAN PATHS

LANDMARKS

VIEW FROM THE STREET

ENTRY POINTS

RELATION OF COURTYARDS & CIRCULATION

DOCUMENTATION OF THE GUESTHOUSE

AL BAYKA – GROUND FLOOR

AL ELLIYEH – FIRST FLOOR

GEOMETRIC RELATIONS

Overall geometric forms

Geometries of interior envelopes

Overall geometric grid

STRUCTURE

GROUND FLOOR PLAN

FIRST FLOOR PLAN

INTERIOR DETAILS Only through discussing current structural elements, furniture, fittings, accessories, and artifacts, as well as their functions in the development of spatial identity, can the required hierarchy in historic interiors be attained. Existing interior components that contribute to the building's cultural significance should be preserved and used whenever possible. As a result, their physical features, as well as how they interact with the space envelope, must be investigated. Adaptation, on the other hand, demands the use of a variety of new spatial features in order to support human activities. As a result, modifications on ancient interiors usually draw new layers on top of existing spatial layers. These new layers are designated for shorter periods of time in order to adapt space to new uses and needs. As a result, they must be distinguished from existing layers in terms of design language and material. The geographical features and functional requirements dictate whether these elements are fixed or freestanding.

WHY CHOOSE RESTORATION & ADAPTIVE REUSE? •

• • •

•

VALUE: The Madafa, which served as a collective guest house and a tribe institution, is still seen as the face of Umm Al Amad's society, with its purpose as a socio-cultural institution in the village where all tribe-related matters were discussed in order to establish bonds and social relations. In other words, its purpose was to form a social consensus and sustain the tribe's integrity and alliance. ARCHITECTURAL DESIGN: The guesthouse dates back to the early 20th century, but its ancient structure and some of its design features still stand to this day. SUSTAINABILITY: It is more sustainable to restore a building and adapt it for modern use than to construct a new one. CULTURAL SIGNIFICANCE: Mithqal Pasha Al-Fayez’s guesthouse witnessed numerous historical events and decisions in the past era, which contributed to the symbolic and emotional meanings associated with it. ONE CHANCE RULE: When a building is demolished, what is lost can’t be measured.

RESPECT YOUR NEIGHBOR PHASE 1: PRESERVATION The Burra Charter, a book that gives recommendations for the conservation and management of culturally significant locations, states that “Places of cultural significance tell us about who we are and the past that has formed us. They are irreplaceable, precious, and must be conserved for present and future generations.” The guesthouse of Sheikh Mithqal Al Fayez once helped create and maintain the tribe’s identity; it is a place where many stories have been told and has stood as a representation of society. Therefore, and out of respect for our neighbors (Al Fayez tribe), the guesthouse will foster a silent exhibition dedicated to their Sheikh and tribe history, a place that will function forever as a living memorial. In order to preserve the authentic sense of the guesthouse’ history, conservation actions must take place. The first strategy is to repair rather than replace wherever possible, historic characters shall be retained, preserving as much of the original fabric as possible. Incase replace work must be done, efforts should be made to match the type and color of the original stone and brick. As for the interior walls and spaces they should be protected with structural and roof materials that ensure their durability (Traditional and local materials should be employed here). Any elements of significance such as Mariam’s oven should be kept safe.

ONE CHANCE RULE PHASE 2: RENOVATION Historic structures and its remnants should be preserved, renovated, and adapted to new needs and societal changes to avoid further degradation. In the case of this project, the warehouse (Al Bayka) in the ground floor of the guest house and the 3 warehouses on site will be renovated to accommodate new functions. The renovation strategies used in this phase are based on reversibility. “True architecture should offer people an empty space; temporarily occupy it but never permanently.” Therefore, in order for restoration to be possible in the future, physical interventions are kept to a minimum and the work is limited to essentials. Such work include treating degradations in the walls and openings of the warehouses and the major structural ruin in the roof of Al Bayka. Flexible and lightweight materials such as glass and steel are used to ensure the options of reinstatement in the future.

HUMAN INTERACTION FIRST PHASE 3: INTEGRATION

The last phase of the conservation actions taken in this project is the integration of new structures on site. These structures are stairs and bridges linking the 3 warehouses together. Steel stairs will be situated on the sides of each building allowing us to take advantage of the roofs in order to create outdoor spaces. Each roof will have its own function and user experience. All roofs will be connected together through steel and glass bridges.

PROGRAM:

SPATIAL STORYTELLING

What is storytelling?

Why choose storytelling for this project?

How can architecture serve as a catalyst for storytelling?

"Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.“ - Frank Darabont

The Panel of the Rhinos from Chauvet Cave, France. Dated to c.33,000-c.30,000 years ago.

STORYTELLING Storytelling is an ancient art form and an important form of human expression, according to the National Storytelling Network. Storytelling is an ubiquitous aspect of the human experience, and it is thought to have evolved shortly after the emergence of language. The cave drawings in Lascaux and Chavaux, France, include some of the earliest traces of storytelling. The drawings, which are believed to be 30,000 years old. It's even possible that the scenes painted on the cave walls were part of some type of oral tradition. We can learn about other people's thoughts and feelings through stories. To put it another way, they can help us sympathize with others around us. According to studies, the more fascinating the story, the more compassionate people become in real life. Stories also enable us to communicate knowledge in a memorable manner, which may have aided our forefathers in cooperating and surviving. We retain details better when we tell a tale rather than just recite dry information. Stories are everywhere, regardless of the causes. We've been telling stories for as long as history can remember, and we'll probably keep doing it for the rest of our lives.

TYPES OF STORYTELLING ORAL

VISUAL

WRITTEN

DIGITAL

MUSIC

PERFORMANCE

THE SCOTTISH STORYTELLING CENTER Malcolm Fraser Architects The Scottish storytelling center is an example of an oral storytelling space. It was established in 1992 to encourage and support the telling and sharing of stories by people of all ages and from all sorts of backgrounds. The historic "John Knox House" is combined with the nearby Netherbow Centre on this location. It invited the public to take part in the art form that the center encourages and conducts by providing Storytelling places. The structure has to reflect both the modernism and tradition of this living oral art form, as well as the site's and building's histories. The oral custom is strong in northern European cultures and Scotland in precise. It is a comprehensive and integrative art form embracing literature and performance. “The storytelling gathering is seen as art and hospitality combined, storytelling for us is intimacy, warmth, connection and gathering, which is reflected in the rooms formed.”

THE SCOTTISH STORYTELLING CENTER Malcolm Fraser Architects

A large, hinged "wall of stories" in the center of the Storytelling Court adapts to form nooks and storytelling locations. It is both overlooked and outward-looking, connecting to the City and its stories through the front window, the natural world of the storytelling garden through the large window in the back, and the sky through skylights whose fins catch and diffuse sunlight down into the Court – a trinity of story contexts. The re-constructed Netherbow Theatre was built to serve as a more formal storytelling space that may also be used to stage plays and conferences. In a large and shallow bank of seats with aisles on either side, a storyteller faces the audience rather than the gangway, an intimate interaction is established between the artists and the audience. The theatre, like the Court above, connects to the light and the garden outside by a big window in one corner of the stage, which animates the area during the day. With a big sliding shutter integrated into the wall lining, this may be closed off as needed to visually and sonically isolate the theatre.

CITY OF THE NETHERLANDS Netherlands Architecture Institute An example of digital storytelling is a project done by Netherlands architecture institute with the association of a design agency called Tinker Imagineers. They produced an unconventional public presentation about architecture titled ‘City of the Netherlands’ “Not an exposé on buildings but an experience telling the tale of our love-hate relationship with the city.” – Tinker Imagineers You will see the city in all of its forms and shapes while walking through the ‘City of the Netherlands.' Scale models, multimedia, and layout will assist you in seeing the city at its finest and worst. The beauty of one person is the horror of another. From the peaceful polder to the far future, which you'll create with your imagination: a projection on white structures, the pinnacle of utopian ideas.

VACANT NL - Where Architecture Meets Ideas Rietveld Landscape An example of visual storytelling spaces is the ‘Vacant NL exhibit, It brought up the issue of the thousands of vacant buildings in the Netherlands. The goal of Vacant NL was to demonstrate how the vast number and diversity of temporarily available property opens up a wide range of options, and how temporary usage can spur innovation in the creative knowledge economy. The pavilion's ground level was left empty to accentuate Rietveld Landscape’s motif. A hanging ceiling of blue foam could be seen from below. The hanging field revealed itself to be a collection of model churches, schools, water towers, industries, hangars, light buildings, and offices from the first floor of the pavilion. The links that could be created between vacant buildings and creative professionals were depicted on the wall in a diagram.

The curators looked at a current scenario in their city to strategically re-imagine new spatial possibilities at a larger scale. In order to make the concept of urban size approachable to the viewer, the show experimented around with how it was presented. A field appeared beneath the models, resembling a figure-ground study. From above, this assembly of model buildings could be perceived to have distinctive character and identity.

SPELLING DYSTOPIA Nina Fischer & Maroan el Sani

Another example of digital storytelling is a film produced by a Berlin based artists Nina Fischer & Maroan el Sani ‘Spelling Dystopia’. The capacity of film as a medium to portray the life cycles of architecture and place is unrivaled. The film project ‘Spelling Dystopia’ (2009) investigates how memory works and how a location, both physically and symbolically, wears its history. “History manifests itself in the diversity of architecture from different epochs. A building is a visible remnant and a piece of memory of a certain time. Our work is a permanent pursuit of and negotiation with the transition of time, or the transition of epochs. We explore the historic traces of urban landmarks, monuments and events that embody such a transition” -Fischer & El Sani Fischer and El Sani are focused on how film affects places, how it alters people's perceptions of them, and how it affects collective memory.

SPELLING DYSTOPIA Nina Fischer & Maroan el Sani

Fischer and El Sani focused their project ‘Spelling Dystopia' on the public view of the uninhabited island Hashima near Nagasaki, which has a rich history. In the year 2000, it was the location for the science fiction hit Battle Royale, and it was reintroduced into the Japanese psyche with a new meaning. The location became known to the younger generation as an abandoned ghost island thanks to movies, manga, and video games. The island appears almost as a fantasy, a make-believe playground, in these photographs. The island has subsequently taken on a ghostly, mythic role in the public imagination, a fabricated shift in collective memory, thanks to its portrayal in Battle Royale. Memory shifts as a result of the media created in these locations. Fischer and El Sani intended to bring memory back to the modern stream of media consumption, as well as affect how it would be remembered in the future, by creating a new artwork about a site like Hashima Island. “By the format of a film installation, that uses several screens we tried to create a new approach for the way to watch it” -Fischer & El Sani

IDEOLOGY As stated earlier, one thing mutual between the two tribal institutions (Al Madafa and Al Diwan) is that it is quite evident who owns the space and who the stranger is. Therefore, the aim of this project is to change that by creating a new guesthouse environment; a guesthouse that no longer represents the identity of a specific tribe or Sheikh, but rather represents all tribes and clans of Jordan, stitching and bringing together the various social structures within the country without belonging to a particular locality or authority. The site will be the Madafa to all tribes of Jordan, a new concept that allows all families, tribes and clans to come together, learn from each other and be a part of something bigger. How can we do that? How can we reconstruct the concept of a space that is considered from long ago an instrument and a symbol of integration for a tribe and its members only where non members are viewed as outsiders, to a place that can be shared and celebrated by all the tribes of Jordan’s community?

STORYTELLING The Force For Social Change

We have established that storytelling helps us understand others; it has the ability to aid us in learning about people as well as understanding them and their situations. Whether we actually know the individual or not, hearing their story evokes feelings such as trust, kindness, and empathy within usIt encourages us to collaborate and has a beneficial impact on our social conduct. As a result, stories have an unrivaled capacity to bring people together.

Therefore, the project will provide storytelling spaces, a platform for sharing stories in any form, where there is no hierarchy, and where people from different backgrounds, tribes and regions can come together and take part in this experience.

The relationship of “Us” and “Them” demonstrated in Al Madafa and Al Diwan will no longer be expressed. Instead, the new Madafa concept will be the host to all tribes and families of Jordan, contributing to the shared public image and character of society.

STORYTELLING FORMS EMPLOYED IN THE PROJECT

1. ORAL STORYTELLING Oral storytelling implemented in the project; 1. Performance This form of oral storytelling involves interaction between a storyteller and an audience. A performance may include engaging acting or elements such as dance, music, or sharing Arabic folk tales. The stories narrated and brought to life by the storyteller convey a message and can be a tool for the transmission of cultural values and beliefs to the listeners. 2. Intimate Intimate storytelling can be a spontaneous communication between a small group of people. Strangers from different backgrounds can meet and learn about new environments by sharing and listening to stories told by others. AL HAKAWATI ‫ – الحكواتي‬THE STORYTELLER

STORYTELLING FORMS EMPLOYED IN THE PROJECT

2. VISUAL STORYTELLING Exhibition Display The installation of exhibition displays centered around Jordan’s history will provide the visitors with different perspectives and a deeper, human interpretation of our community. 3 types of exhibition spaces will be installed in the site, each space will hold a diverse collection of display objects providing its visitors with different types of stories. I. The Artifact Exhibition The exhibition will offer a collection of artifacts and sculptures assembled from the different historical periods of Jordan such as tools used for cooking, agriculture, and crafts. II. The Photo Exhibition This exhibition will showcase photos in honor of significant Jordanian characters (Leaders & Sheikhs) and key events in Jordanian history, such as The battle of Karameh. This space will connect the visitors to stories that matter giving them an opportunity to learn countless stories of heroism and humanity.

A photo of the battle of Karameh, 1968. Taken from the History of Jordan website.

A photo of Sheikh Mithqal Al Fayez, 1939. Taken from the History of Jordan website.

Ayn Al Ghaza Sculptures seen at the Jordan Museum.

STORYTELLING FORMS EMPLOYED IN THE PROJECT

3. DIGITAL STORYTELLING Digital storytelling implemented in the project; 1. Recorded/Listen to stories This form of digital storytelling involves the recording of stories told by the community, people can share a piece of their life story whether its an important incident in their lives or reflecting on their life journey. It’s a way for us to inspire and learn about each other, providing social-emotional benefits to the community.

The late Fadyeh Zureiqat, telling an emotional story about the Zureiqat & Majali tribes.

2. Projection of stories on building shells The projections can include not only stories of people but the stories places, important landmarks and landscapes in Jordan. Such as Petra, Jerash, Ajloun castle, Jordan’s desert castles, Wadi Rum, and many other astonishing sites.

3D projection mapping at Ibiza Light Festival. Courtesy of Andrei Visuals.

DESIGN

DEVELOPMENT

EXISTING SITE PLAN

PROPOSAL

EXISTING GROUND FLOOR PLAN

EXISTING FIRST FLOOR PLAN

OUTDOOR

SPACES

EXTERIOR

SHOTS

Entrance to the site.

Communal courtyard

Social Space.

Market Space

INTERIOR

SHOTS

COFFEE SHOP

Digital storytelling space

Visual storytelling space

BEFORE &

AFTER SHOTS

EXISTING WAREHOUSE A

PROPOSED WAREHOUSE A

EXISTING WAREHOUSE B

PROPOSED WAREHOUSE B

EXISTING WAREHOUSE C

PROPOSED WAREHOUSE C

EXISTING SITE

PROPOSED SITE

REFERENCES •

The Nomadic Tribes of Arabia: World Civilization

•

Democracy and the Tribal System in Jordan: Tribalism as a Vehicle for Social Change

•

)‫ سيرة حياة الشيخ مثقال سطام الفايز (شيخ مشايخ بني صخر‬،‫عواد صياح البخيت و عمر دمحم العرموطي‬

•

Al-Madafa and Ad-Diwan among Al-Shboul Tribe: 1 Department of Anthropology, Faculty of Archaeology and Anthropology, Yarmouk University, IrbidJordan

•

www.mota.gov.jo/Documents/Madaba/Social_assessment1.pdf

•

‫ نادين المعوشي‬, ‫الهاشميون وإنشاء شرق األردن‬

•

http://www.historyofjordan.com/jordan2/jh/collection1.php?id=176&page=9517

•

http://countrystudies.us/jordan/32.htm

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https://www.files.ethz.ch/isn/139093/107.pdf

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https://courses.lumenlearning.com/suny-hccc-worldcivilization/chapter/the-nomadic-tribes-of-arabia/

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https://www.worldhistory.org/image/6350/panel-of-the-rhinos-chauvet-cave-replica/

•

https://www.nationalgeographic.org/encyclopedia/storytelling/

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https://tinker.nl/en/work/city-of-the-netherlands

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https://www.architects.nsw.gov.au/download/BHTS/Clarke_A_Spatial_Experience_Narrative__BHTS2012.pdf

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https://www.dimasharif.com/al-hakawati-the-storyteller/

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http://www.jordanhistory.com/kharja/photos/collection_en.php?album