Sahel AlHiyari is a prominent Jordanian architect and painter, known for his thoughtful integration of traditional and contemporary design elements. He is the founder and principal of Office of Sahel Alhiyari for Architecture, an Amman-based architectural firm recognized for its design-driven approach across a wide range of disciplines, including urban design, interior and furniture design, as well as architectural installations and exhibitions.
AlHiyari holds a Bachelor’s Degree in Architecture and Fine Arts from the Rhode Island School of Design and a Master’s in Architecture and Urban Design from Harvard University’s Graduate School of Design. He also pursued post-graduate studies at the University of Venice, where he later taught. His academic career includes teaching roles at prestigious institutions such as Harvard University and the American University of Beirut.
In 2003, Sahel AlHiyari became the first architect to be honored by the Rolex Mentor and Protégé Arts Initiative, working closely with the renowned Portuguese architect Alvaro Siza. His work, which has been published and exhibited internationally, reflects a deep engagement with the cultural context and the specificities of each project, aiming to create architecture that is both transformative and rooted in place.
What was the inspiration behind the design of the B. Kanaan Residence?
The design approach for the B. Kanaan Residence is a multifaceted response to various factors, including the project’s context, site conditions, cultural influences, regulations, budget, and climate. These elements collectively shaped the architecture of the residence. Inspiration, however, is a more complex and subjective concept, intertwining geographies, histories, and personal experiences. For example, the house’s privacy is inspired by traditional Arab architecture, where introversion characterizes domestic spaces. This introverted design also draws parallels with archaic structures, temples, and even contemporary sculpture. Ultimately, the inspiration was a response to the challenges and conditions presented by the project rather than a predefined vision.
How did you balance the need for privacy with the desire to connect the home to its surroundings?
The residence is situated at the intersection of two roads in Abdoun, a residential area, making privacy a key concern. The design severs the visual connection between the house’s interior and its surroundings while fully connecting the interior spaces to the surrounding gardens. All rooms, except the master bedroom, are linked to these gardens or sunken courtyards. This strategy creates a private zone within an otherwise exposed area, ensuring both seclusion and a strong connection to nature.
What motivated your choice of hand-chiseled stone for the facade?
In West Amman, local limestone is the standard construction material. Traditionally, stone was hand-cut, but over time, as tools advanced and the cladding became thinner, the craftsmanship deteriorated. The choice to use hand-chiseled stone for this project was an effort to revive this traditional craft, maintaining the depth and quality of the material. The combination of deep, slender stone elements stacked vertically without interruption is a distinctive feature of the residence.
How did natural light influence your design decisions?
The house’s closed facades and absence of visible windows give the impression of a dim interior. However, the ground level is a double-height space flooded with natural light from large, concealed garden windows and linear skylights in the ceiling. This concept extends to the basement, where courtyards bring light into the lower levels. The challenge of providing ample light in what appears to be a windowless house was met by carefully calibrating the relationship between the facade, section, and interior space.
What challenges did you face when working with the urban plot?
The plot’s location at the intersection of two roads, surrounded by residential lots, made it highly exposed. The house was positioned towards the setback limits at the back of the lot, creating a sheltered garden and patio at the front, hidden from view by a high periphery wall. This wall, treated identically to the house’s mass, helps maintain the appearance of a windowless structure, providing privacy while maximizing usable outdoor space.
What is your typical process when starting a new project?
There is no typical process; each project dictates its approach. Some projects begin with landscape observations, others with programmatic needs or formal responses. The process can involve experimenting with floor plans or massing, but it is never linear and always adapts to the unique demands of each project.
How did you incorporate local craftsmanship into the residence, and what was your reasoning behind it?
Using locally sourced materials and traditional craftsmanship is crucial for feasibility and context. The hand-chiseled stone facade and the use of traditional tools aim to preserve local crafts. This approach roots the project in its cultural and geographical context, enhancing its authenticity and connection to the local environment.
How did you approach blending the building with its context?
The materiality of the house connects it to its context, as it shares the stone cladding common to surrounding buildings. However, the house distinguishes itself through its lack of visible windows and the continuous stone texture, creating a subtle rupture in its surroundings. While it aligns with the scale and material of neighboring structures, it contrasts in its expression.
What advice would you give to aspiring architects?
My advice is to explore the vastness of architecture without a fixed goal. Aimless exploration expands your boundaries and offers new perspectives, allowing you to approach challenges in a nuanced and instinctive way. Sometimes, solutions come not from directly confronting problems but from observing how others have resolved similar issues.
Featured Image Sahel AlHiyari of Office of Sahel Alhiyari for Architecture © Natalie Tufenkjian
