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Cases and zoning on site

Architecture of Umm Al-Jimal

Community project

JORDAN



INTRODUCTION

Umm el-Jimal is both a modern town and
archaeological site of unknown name, located
approximately 70km northeast of Amman and
just south of the Syrian border. In ancient times
the site was occupied from roughly the 1st to
8th centuries AD. After its decline, Umm el-
Jimal’s dark basalt architecture lay silent until
Syrian Druze and bedouin Msa'eid reoccupied it
at the start of the 20th century. Umm el-Jimal
was a frontier town in the desert, likely first
inhabited by Nabataean traders caravanning
between Petra and Damascus. With the arrival
of Rome in the second century AD the village
eventually became part of the Limes Arabicus—
the line of garrisoned forts that protected the
Roman province of Arabia. Even so, Umm el-
Jimal’s inhabitants existed in relative autonomy,
and by the 5th and 6th centuries it peaked as
a prosperous Byzantine town of perhaps five
thousand souls. Over the following centuries
Umm el-Jimal’s residents remodeled and reused
its stone structures, until its probable decline and
gradual abandonment in the late 8th century.
Although Umm el-Jimal lay silent for a
thousand years after being abandoned by its
ancient population, modern archaeological
research into the site began in the early 1900s
with Howard C. Butler’s Princeton University
Expedition to Southern Syria. Since then
international researchers have conducted a
variety of inquiries into the ancient town, an
adjacent and older village, and the
surrounding region.

THE UMM EL-JIMAL PROJECT
The Umm el-Jimal Project began as an
archaeological research program in 1972,
founded by Dr. Bert de Vries to continue work
first begun by Howard C. Butler and the
Princeton University Expedition to South Syria in
1905 and 1909. Today it is an ongoing
collaborative enterprise between the project
and its international partners, including the
residents and Municipality of Umm el-Jimal, the
Jordanian Department of Antiquities, Jordan’s
Ministries of Education and Tourism, the
American Schools of Oriental Research
(ASOR), American Center of Oriental Research
(ACOR), and Open Hand Studios.

CURRENT WORK
In 2007 this collaborative group began a
new phase of research and work to continue
integrating the academic and archaeological
context of Umm el-Jimal with the site’s physical
conservation, the modern community’s everyday
life and cultural heritage, sustainable
development, and public dissemination of results
via an educational curriculum as well as on-site
and virtual museums. To complete this renewed
mission, current work at Umm el-Jimal is
organized into several cooperating research
teams. Led by Prof. de Vries, these teams
successfully completed several on-site digital
documentation seasons in 2009-2010—the
project’s 11th and 12th field expeditions overall.
More rounds of on-site work were completed in
2012 and 2014 to fulfill two grants from the
Ambassador's Fund for Cultural Preservation
Program of the US Department of State's
Cultural Heritage Center. Since 2014, the
project also has worked with the Umm el-Jimal
Women's Cooperative and UNESCO on the
Umm el-Jimal Women's Empowerment Project.
Finally, in June 2015 the project launched a
new round of community engagement and
archaeology ventures funded by the
USAID/ACOR SCHEP program.

Building With Basalt An Igneous Rock
The ubiquitous construction material at Umm el-Jimal and surroundings is basalt, an igneous rock formed
With its eery, massive buildings of dark, local
basalt rising from the surrounding desert plain, when lava flows cool. At Umm el-Jimal it was quarried from pits which then served for water storage.
Umm el-Jimal's architecture is perhaps its most
visually arresting feature. But basalt shaped Quarrying
more than the site's vertical appeal. The black Formed in large blocks, basalt could be easily quarried using wood wedges.
volcanic stone—today often mottled in
appearance from lichen, dust, and age—was so
sturdy that many homes were built to three
stories tall, with the tower of the so-called
Barracks (or later castellum) six stories above
the ground. The results lasted a long time: Not
only were buildings maintained and reused
over centuries of continuous occupation, but
many were reoccupied in the early 20th
century and over 150 are still at least partially
standing today.

CORBELLING AND CANTILEVERS

Yet basalt's dense strength came with limits. For
one thing, its weight required builders to limit the
blocks' length to keep them from cracking in
two. As a result, by necessity rooms were
usually narrow enough to span with basalt, or
contained interior arches to support more
ceiling weight and thus allow a wider floor
plan. In addition to arches, Umm el-Jimal's
builders extensively used a technique called
corbelling, whereby basalt blocks (called
'corbels' by architects) projected out from the
walls into which they were set in order to bear
the weight of the building's ceiling or additional
floors beyond ground level. Similarly, the town's
ancient residents used cantilevered blocks to
form stairways and narrow platforms.

A FRONTIER ARCHITECTURE
The basalt's insulating properties helped keep
Umm el-Jimal's homes cool in the hot Hauran
summer, and kept warmth of fires from escaping
during cool winter nights. In many cases,
residents used ground-level rooms for their
animals, with basalt mangers built right into the
walls. The results of this pragmatic style are at
once functional and beautiful, and form a
unique regional style of ancient architecture
found at numerous sites in what is now Jordan
and Syria.

Dressing
Because of its glassy consistency, basalt blocks could be dressed quickly by flaking off chips with a steel adze.

Detailing
However, because of its fine grain and smooth texture, it also could be dressed with precision using pointed

steel chisels.

Patina Close Up
A combination of sunlight and moisture results in the formation of an attractive russet patina on some Basalt’s fine grain, extreme density, and molecular structure make it hard, stable, and impervious to

basalt walls, as on the north facade of the Barracks tower. decay—and fantastic building material.

Color
Under normal circumstances, the standard dark grey color survives over the centuries, as found on the

west façade of the Barracks tower.

Lichen Lime
Here and throughout the eastern badiya, or an arid desert, lichens (a partnership of fungi and algae) In the dry summer, some of the lichens die off to form a white lime accretion on the stones’ surfaces, first

flourish on the winter-moistened surfaces of the basalt. forming a mottled pattern of light on dark.

Lichen Penetration
The degree to which lichen penetrates the stone’s surface is not well understood and could be the
subject of micro-analytic research. However, it does not appear to cause major deterioration of the

stone.

Why this case?

- The local material.

The basalt rocks which is available in
abundance in the archaeological area of Umm
Al-Jimal.
Basalt is a common extrusive volcanic rock. An
inert rock found worldwide, basalt is the generic
term for solidified volcanic lava. Safe and
abundant, basalt rock has long been known for
its thermal properties, strength and durability.

- The architectural style of Umm
Al-Jimal.

There are many ancient buildings that have
passed hundreds of years ago in Umm al-Jimal,
and they were dominated by almost the same
style, which is the dense layers of black basalt
stones, the presence of courtyards in most
buildings such as churches and apartment
houses, and the presence of arches in the
facades of buildings.



Plan of the Late Antique Town



Plans and sections of Umm Al-Jimal buildings

Designing with courtyards at the center of the
building.
Also the elegant facades with circular arches
and the dense of the black basalt layers.

Numerianos Church House XII-XIII

House 119 Plan House XVII-XVIII Plan

Maidan Tent

Architectural Aid for Europe's Refugee Crisis

GREECE

Maidan Tent

Architectural Aid for Europe's
Refugee Crisis

One emerging example of humanitarian architecture
is Maidan Tent, a proposed social hub to be
erected at a refugee camp in Ritsona, Greece. Led
by two young architects, Bonaventura Visconti di
Modrone and Leo Bettini Oberkalmsteiner, and with
the support of the UN International Organization for
Migration, Maidan Tent will allow refugees to
benefit from indoor public space – a communal
area to counteract the psychological trauma
induced by war, persecution, and forced migration.

Building Size: 200 sq.m
Project Cost: €50,000
Location: Ritsona,/ Greece
Year : 2017
Architects:Visconti di Bonaventura
Modrone, Leo Bettini Oberkalmsteiner

Why this case?

- Using the tent (which is one of the

elements of the Bedouin heritage in the city
of Mafraq) in an unconventional way to
solve the physical and psychological
problems faced by Syrian refugees in
Europe.

- The structure of the tent which is an

aluminum structure covered by a water,
wind, and fire resistant textile, offering a
sheltered, safe environment for up to 100
people. (area of the tent is 200 sq.m)

- The concept of the circular shape of the

tent is a conscious attempt to invite people
to enter from any direction, where a series
of semi-private spaces can enable refugees
to establish personal relationships.
Also the concept of multi-funtions at the same
place for different ages.

- The sustainability of the tent while

designing



More than a million people have fled the
Syrian conflict during a few years to take
refuge in Europe, strenuously testing the
continent’s ability to respond to a large-scale
humanitarian crisis.
With the Syrian Refugee Crisis still unresolved,
and temporary refugee camps now firmly
established on the frontiers of Europe, architects
and designers are devoting energy to
improving the living conditions of those in
camps fleeing war and persecution.

The process behind Maidan Tent began in
2016, with the design team making eight visits
to the refugee camp, and reflecting on their
conversations with refugees. They recognized a
psychological ‘migration trauma’ within the
community, the result of dangerous journeys in
improvised or unsafe rafts across the
Mediterranean Sea.

In refugee camps, a sprawling arrangement of
tents and containers, and a lack of common
areas can generate alienation and
disorientation. The design team, therefore,
believe that the public, organized common area
offered by Maidan Tent can allow the
community to play, interact, and empathize
under a moveable, sheltered, expressive
structure.
The word 'Maidan' is itself derived from the
Arabic for 'square', further reflecting the
scheme’s dedication to social interaction.

Maidan Tent covers an area of 200 square
meters aluminum structure is covered by a
water, wind, and fire resistant textile, offering a
sheltered, safe environment for up to 100
people. The shelter is inherently flexible, with
standardized components allowing for easy
installation and maintenance, and eight
modular spaces which can be adapted for a
range of uses. The scheme’s circular shape is a
conscious attempt to invite people to enter from
any direction, where a series of semi-private
spaces can enable refugees to establish
personal relationships.

The cost of the Maidan Tent is €50,000, a
small price to pay for a medical and
psychological center, a playground for
children, a gathering place to eat, buy and sell
goods, learn and teach, pray, discuss and
exchange ideas. Most importantly, replication of
the center can offer temporary respite for
millions of refugees as global leaders search
for a solution to one of the largest humanitarian
crises of our time.

Theopen-nature of the structure was devised to
foster an inviting gesture from all directions.
additionally, the zoning enables relationships to
be created and the multifunctional nature can
be adapted and changed as needed. at the
heart of the structure lies the meeting area that
is bounded by a ring of additional semi‐private

areas where people can carry out their
activities in a more cosy private atmosphere.

The structure is easy to assemble and
disassemble, transportable, durable, easy to
maintain thanks to standardized components, it
is articulated in such a way that in its interior
spaces are easily separable in a modular
fashion. The covered circular space is divided
into eight sectors each of which, in turn,
provides two concentric areas. The center of the
structure, dedicated to the meeting, it is
bordered by a ring of more semi-private
spaces where people can carry out their
activities in a more intimate atmosphere.

The structure has been designed bearing in
mind so some aspects of a psychological
nature:
1) the circular shape, open on all sides, invites
people from any direction these originate.
2) the division into different zones type allows
many ways to establish relationships linked, the
latter, the personality and the mood of
individuals.
3) multi-functional space is exible and can be
quickly adapted according to different needs.
The Maidan tent can be both a place to
receive medical and psychological care, a
playground for children, a gathering place
where to eat together, buy and sell goods,
learn and teach, pray, interact, discuss,
exchange ideas.

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Sangan Hotel

A Tent-Like Developement in the North-East of Iran

IRAN

Sangan Hotel

A Tent-Like Development in the
North-East of Iran

Sangan is a small city located in the North-east of
Iran, bordering Afghanistan. Recently due to the
discovery of an iron mine, its local commerce which
was originally based on agriculture, product
exchange and handicrafts, mostly shifted towards
the development of steel factories.
Even though these developments have had a
positive impact on this town, still, it suffers from a
lack of residential and hospitality functions for the
mounting number of visitors.

Architecture Firm: FMZD | Farshad
Mehdizadeh Design
Gross Built Area: 50,000 sqm
Project location: Sangan, Iran
Lead Architects: Farshad Mehdizadeh
Design Team: Farshad Mehdizadeh
(Principal Architect) Aida Sarboland,
Farnoosh Aghamirza
Project year: 2018

Why this case?

- The concept of the design was inspired

by the form of traditional primitive tent
structures, which allowed the architects to
lower the hotel tower and increase the
footprint of the building to be more familiar
and interactive with local people.

- The design challenge which was

about designing a building that fits two
different categories of users, the locals and
the outside visitors(who are coming in large
numbers).

- A human-scale project that consists

of repeated void spaces at different scales,
as well as the main courtyards and the
smaller courtyards.

- The complex’s waved roof, which

features a dynamic form inspired by
traditional tent structures and its use as a
water-harvesting system.

- How a complex is designed in a desert.



Farshad Mehdizadeh Design created a hotel in
the small city of Sagan, as a conceptual
response to the lack of residential and
hospitality functions in this newly developed
area of Iran. The project consists of a low-rise
structure in a 50,000 m2 plot.
Located in the northeast of Iran, bordering
Afghanistan, Sagan’s local commerce,
originally based on agriculture, product
exchange, and handicrafts, has shifted suddenly
towards the development of steel factories with
the recent discovery of an iron mine.
With a new-found purpose, the city is attracting
an important number of visitors. Nevertheless,
amenities and accommodation that help the
town adapt to these changes, are still missing.
The architect states that “even though these
developments have had a positive impact on
this town, still, it suffers from a lack of residential
and hospitality functions for the mounting
number of visitors”.
Initially, the project brief required a 20-story
tower structure to fit in the 50,000 m2 plot
between Sangan and the industrial zone.
To attract “industrial tourists”, the brief called for
an iconic structure, that provides
accommodation and other facilities.
FMZD’s proposal challenged the task and
proposed a low-rise building that blends with
the urban fabric of the town.
The firm’s approach to the required program
has also drifted from the initial function, in order
not to “negatively impact the locals’ vulnerable
source of income”.

The proposal puts in place an envelope, where
an organized grid of voids shapes the interior
space. “A central yard acts like an oasis and
performs as a public space for the hotel”.
The design inspired by the form of traditional
primitive tent structures, allowed the architects to
lower the hotel tower and increase the footprint
of the building to be more familiar and
interactive with local people.
Surrounded by flexible outdoor areas, the
project generates spaces suitable for temporary
local markets. These activities are organized and
protected by a perforated shelter made of
local mat and wood.

Design concept

The inspiration of the design came from the typology of the traditional hotels, which is a simple square with a central courtyard for public gathering and the
local activates of the Sangan residents which mainly a random shops and markets along the streets of the city, the tents that scattered all over the city and the
group’s gathering areas which reflected in the design through the small courtyards between the spaces.

Hotel traditional typology Local activates from Sangan

Sangan Hotel Complex

Caravanserai Local residential typology Hotel structure Local public activates Sangan hotel





The design challenge was to solve the
contradiction between the high-rise structure
proposed by the client and the existing low-rise
urban fabric of Sangan. Mehdizadeh also felt
that a destination hotel would negatively impact
the locals’ vulnerable source of income.
In response, Mehdizadeh designed a human-
scale project that consists of repeated void
spaces at different scales, as well as a central
courtyard that acts as an oasis and provides a
public space for the hotel’s guests. Smaller
courtyards can be found elsewhere throughout
the project, which provides more privacy.
Offering space for public gatherings unites the
hotel’s interior and exterior areas.

The land surrounding the complex is also
interactive and flexible and can host temporary
local markets and various activities for the
community. This market is organized and
protected by a perforated shelter made of
local mat and wood.
Visually connecting the interior and exterior
areas is an extension of the complex’s waved
roof, which features a dynamic form inspired by
traditional tent structures. Using this typology as
a reference, said Mehdizadeh, provided the
architect with the contextual tools needed to
lower the hotel tower and increase the footprint
of the building to be more familiar and
interactive with the local residents.









Rio 2016 Olympic Golf Course

includes rainwater-collecting canopy by Rua Arquitetos

BRAZIL

Rio 2016 Olympic Golf
Course

Rio 2016: Brazilian studio Rua Arquitetos has
completed the golf venue for the Rio 2016 Olympic
Games, which features a tree-like canopy that
collects rainwater to irrigate the course .
Located in Barra da Tijuca, on the opposite side of
the lagoon from one of the four Olympic and
Paralympic venue clusters.

Location: Barra da Tijuca, Brazil
Year : 2016
Architect : Pedro Évora and Pedro Rivera

Why this case?

- The water harvesting technique was

used in the project so that pipes and
umbrellas can be used in the public
squares and courtyards.



Pedro Évora and Pedro Rivera of Rua Arquitetos
won a competition to design the complex in
2012, with their innovative design intended to
prevent excessive water consumption in the
warm and humid climate.
To achieve this, they positioned all of the
course's facilities around a grassy courtyard,
beneath a canopy of branching steel columns
and taut waterproof fabric.
These elements provide sun shading for both
indoor and outdoor spaces, but also integrate a
rainwater recycling system.
Water collected by the tree-like structures
drains down into an underwater storage tank,
ready to be pumped out across the greenway.

"Golf is a sport of precision and balance, and
we believe the same goes for its architecture,"
said the duo.
"We decided to design a building arranged as
a comfortable balcony, dissolving its limits
between the landscape, volume and users."
"For this purpose, we created a plaza which
articulates the programmatic volumes around it,
crowned by a large cover which shelters the
space," they added.
"The translucent roof captures rainwater and
provides shade."
The small building complex functions as the
entranceway to the 18-hole course. As visitors
arrive, they are presented with a extensive view
out across the artificial landscape.
A path leads along past the gym, locker rooms,
golf shop and reception, arriving at the office
facilities and social areas. The headquarters for
the Brazilian Golf Confederation have also been
built nearby.
These structures incorporate several other
features to suit the Brazilian climate.
Wooden brise-soleils create vertical stripes
across the windows, offering relief from direct
sunlight, while cobogós – a type of hollow
ceramic brick – allow the breeze to flow
through some of the walls.
"The attention to these intermediate spaces is an
inseparable part of the architectural design,"
added the architects.

Site plan