Ammar Khammash is a Jordanian architect, designer, and artist best known for his approach that focuses on the preservation of cultural and natural heritage while crafting an architecture that engages with its surroundings. With deep admiration for nature and its ecosystems, Khammash trusts that "the site is the architect”, a statement for which he is renowned that underscores the profound influence of context on his architectural design. With over three decades of experience spanning various disciplines and across several Middle Eastern countries such as Jordan, Oman, Palestine, Egypt, Syria, and the UAE, Ammar Khammash has consistently attempted to preserve and enhance the symbiosis between human constructions and the natural environment. His contributions include the Royal Academy for Nature Conservation, the Wild Jordan Center, and the restoration of the Church of Apostles.
In 2022, he was featured in the first edition of the Dongola Architecture Series, a biannual publication that offers unique perspectives into Arab culture by highlighting prominent contemporary architects. The issue, titled “Notes on Formation: Ammar Khammash,” written by Raafat Majzoub, explores "architecture as a transdisciplinary tool of expression, and as a method of imagining and reimagining the future," encapsulating the ethos of the publication. ArchDaily had the opportunity to talk to Ammar Khammash and Sarah Chalabi, founder of Dongola Limited Editions, to delve into the architect’s perspectives on site, materiality, and culture, along with his philosophy, notions on academia, and insights into the future of the profession.
Read on to uncover the philosophical foundations of the architect, woven with excerpts and statements from his conversation with ArchDaily.
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DAS 01 | Notes on FormationOn Materiality and Context
Ammar Khammash's architectural design philosophy is deeply influenced by the context of the site. His assertion that "the site is the architect," captures the essence of his approach. When faced with a new project, the architect explains that he starts by immersing himself in the materiality of the site, considering its various dimensions such as the qualities of the landscape, the layered historical narratives, and their interaction. Understanding materiality serves as a guiding principle, an essential “piece of the puzzle […] in creating architecture that is both meaningful and responsive to its context and inhabitants”.
In a conversation earlier this year with the architect, he explained that “materiality, to me, isn't a standalone concept; rather, it's part of a larger discourse. […] When materiality is labeled, it loses its essence and becomes defined as detached from its surroundings. That disconnect doesn't make sense to me at all.” His concept implies that materiality is related to the comprehension of the holistic environment in which a building exists, rather than relating this only to physical construction materials. “It's just one aspect of a broader network of considerations that includes client needs, functional requirements, societal responsibilities, and modernity,” Khammash adds.
For the Jordanian architect, materiality without context cannot make sense because the significance of materials depends heavily on the situation they're in. In fact, he adds that “what may be deemed luxurious in Manhattan might seem out of place or impractical in a desert setting […] not only technically but also socially [...] The introduction of unfamiliar materials can sometimes create divides with some local community unable to afford or appreciate them.”
On Cultural Heritage, Technology, and Science
With a goal fixated on finding a balance between materials and their surroundings, respecting the heritage and culture of a place, Khammash acknowledges also the importance of incorporating modern advancements. He considers that technology allows for faster cultural progress, and enhances cultural heritage. “This means we can revisit and advance cultural practices more rapidly than ever before, compressing what used to take centuries into just a few years. It's a way of giving old traditions a new life and making progress at an unprecedented pace”, he adds. His office is expanding into various technological branches, all at the forefront of knowledge. Constantly assessing available innovation to reshape its approach, technology for the architect “liberates artists from traditional constraints […] encompassing everything we strive for.”
Dreaming big and collaborating with experts when needed, the studio is exploring now intersections between botany and physics, embracing the fusion of nature and technology. Recognizing the importance of engaging in conversations with professionals, Khammash finds that discussing scientific concepts with experts from diverse fields, stimulates his thinking much more than traditional existing literature.
On His Philosophy, Art and Architecture
During the 80’s, Ammar Khammash was initially a landscape painter, drawn to impressionism, despite the popularity of surrealism at the time within the Jordanian art community. His fascination with this movement left a significant impact on his artistic sensibilities as a young painter. However, his artistic journey took a significant turn when he moved to the United States to pursue his architecture studies. While in the U.S., Khammash, witnessed a shift in architectural trends, from a solid structural approach to a more decorative and fashion-oriented aesthetic, that prioritized aesthetics over structural integrity. Not fitting with his philosophy, Khammash admired mostly Louis Kahn’s substantial and timeless approach that generated an architecture that projected a sense of solidity and permanence contrasting with the more fleeting trends in contemporary architecture.
Maintaining a skeptical view, even towards renowned architects, Khammash questioned designs that have an imposing presence in the context. For instance, he considers that the Guggenheim building in Manhattan by Frank Lloyd Wright has an overwhelming presence, drawing attention to itself rather than allowing the art to speak. “In my opinion, such architectural statements would perhaps be better suited to a different location, where they could be appreciated without overshadowing their surroundings”. He adds, “I particularly admire projects like the Tate Modern, which repurpose industrial buildings for artistic purposes”. “What makes this and similar buildings so captivating is their inherent complexity and robustness, characteristics that stem from their original function as factories or heavy infrastructure.” These structures typically not designed by architects, are the product of collaboration among civil engineers, electromechanical engineers, and architects specialized in industrial design. According to the architect, this approach spared them from the often unnecessary embellishments that architects might impose, resulting in buildings that possess a certain power and authenticity. “They stand as reminders that true architectural beauty can emerge from functionality and utilitarianism, rather than superficial adornments.”
Both an artist and an architect, he considers that architecture and art are fundamentally different disciplines, recognizing the unique roles and objectives of each discipline. “Architecture should not strive to be art”, for Khammash. In his view, architecture’s primary focus is problem-solving, addressing human needs while creating functional spaces; whereas art explores and expresses concepts that may transcend traditional boundaries, and constraints of functionality or practicality. “Architecture for me is problem-solving, and art is probably making.” In some cases, he admits that some architectural projects blur the lines and resemble installation art or sculpture, prioritizing form over function, visual impact, and artistic expression over practical utility. For Khammash, these works are more akin to art than traditional architecture, and they may be better categorized as installation art or permanent sculpture exhibits.
On Architecture Education
His experience in teaching led him to recognize a significant gap in architectural education. In his opinion, traditional curriculums lack several essential courses, which should be core components of architectural education. For Khammash, courses in geology, botany, and visual perception, supplemented by knowledge from psychology and neurology, are fundamental for students to create sustainable, user-centric designs that integrate seamlessly with natural and built environments.
He considers that a comprehensive understanding of geology, including knowledge of geological time, different types of rock formations, and how they shape landscapes and building materials is crucial for architects. Additionally, botany plays a vital role in his perception. “Rather than focusing solely on landscaping, which has become a somewhat outdated term, architects should delve into the intricate relationship between trees and structures. This involves studying how trees contribute to energy efficiency, noise reduction, and even air quality in architectural spaces.” Finally, visual perception allows architects to understand how the human eye perceives space, color, and form. This know-how can inform design decisions and enhance user experience.
On The Future of Architecture
“I personally doubt that architecture will exist in terms of where it is right now, in terms of even teaching or even as a profession altogether”. Predicting that by 2050, traditional architectural practices may become obsolete, Khammash envisions different futuristic scenarios.
The first one, centered on scientific and technological advancements, is aligned with progress seen in other industries. The architect’s role will therefore transform and be concentrated on shaping intelligent buildings with embedded nervous systems, capable of monitoring structural integrity and adapting to changing conditions in real time. The second scenario predicts a surge in user-friendly design tools, where people can customize their architectural preferences through intuitive apps. Finally, Khammash also expects a resurgence of craftsmanship and handmade architecture, reminiscent of the Arts and Crafts movement. This approach would cater to individuals seeking artisanal solutions, offering a counterbalance to mass-produced and standardized designs. Driven by technological innovation, user empowerment, and a renewed appreciation for craftsmanship and customization, Khammash’s vision for the future of architecture implies a major change. From conventional practices to a more diverse and adaptable methodology, it challenges the notion of what the practice can be in the 21st century, promising more sustainable, user-centric, and aesthetically diverse built environments.
On another hand, the architect has another visionary perspective on the future of architecture. He proposes a world where advancements in physics, particularly related to magnetism and atomic manipulation, enable the conversion of energy into temporary material forms and allow for the creation and manipulation of objects and structures through virtual means. The concept transcends the limitations of traditional construction methods, envisioning entire cities, or even simple amenities displayed as temporary material forms, offering functionality without the need for physical structures. This shift towards virtual materialization would revolutionize the way we interact with our surroundings, according to Khammash, allowing flexibility, efficiency, and resource conservation. Furthermore, the architect suggests that users could customize and modify their environments daily, experimenting with different designs and configurations. Overall, the vision presented by the architect proposes a paradigm shift in how we conceive of and interact with the built environment, looking at the potential of virtual reality and advancements in physics to transcend the limitations of traditional materiality, resulting in a new era of design innovation and environmental sustainability.
