'X3' initiates a conversation between the image of the user in its reflective surfaces and the backdrop of the urban buildings and surrounding environment. When faced with dancing fragments of self-image and transforming colors of skies and buildings, the user is challenged to play, move and perform the dance of questioning.

'ARID’ is a stone installation, symbolic of a post-drought landscape in Jordan that is the result of the imminent problem of water scarcity.

To create the piece, natural stone is milled using CNC manufacturing of computer-generated geometries.

This installation integrates computational processes and digital techniques for data collection of human movements.

Reflected through the change of light and motion of the butterfly-like components, the installation senses and responds to human movement happening around it.

This model shows the scaffolding designed for a masonry bridge with one of the longest spans of its kind (46 m) at a dramatic location in Wadi Al-Hidan.

The importance of scaffolding or shuttering is that it behaves like a 'trace fossil' of an animal, but unlike in the world of fossils, here, the animal will last, and the trace fossil will disappear.

 In an exploration of the current condition of the Dead Sea, this landscape installation creates a contradictory dialogue between the beautiful aesthetic of natural salt formations and the underlying currents of alarm at the new ‘dry’ Dead Sea.  

The piece promotes the need for balance between sustainable industry that benefits the local community, and efforts to revitalize the body of water through design and conservation initiatives.

Cellular Complexity is a design research and collaboration between Kais Al-Rawi, Julia Koerner and Marie Boltenstern established in 2012 at the Architectural Association London.

The research investigates complex cellular systems and their potential for architectural applications that utilize efficient space-packing geometries with a special focus on emergent technologies in architecture and design. Cellular systems exist within the organization of biological systems in a multitude of scales from the nano to the micro and macro; they embody performative properties structurally, thermally and acoustically.

The installation rethinks the scale at which these systems organically exist, towards an architectural scale which can be re-organized to a diverse range of applications and performative parameters. This installation received the prestigious American Institute of Architects (AIA) Merit Design Award for Built Project in Los Angeles, California (2015).

Artist Haya Abdul Hameed created an installation that takes the essence of shelter and redefines its function in relation to the power of many. 

'Awning' is traditionally defined as a roof-like shelter providing protection from sun or rain.

The work features delicately drawn creatures on a sketchbook or piece of paper which have now become larger, mobile, and animated when worn or suspended.

These creatures move as if they were lifted from 2D forms into wearable, suspended 3D forms embellished with embroidery and sequins.

Yasmine Alnabulsi's characteristic illustrations of seemingly floating whimsical creatures come to life in fabric form at the Hangar Exhibition.

The international language of a swing and its simple movement brings back memories and a sense of childlike freedom to all people.

‘The Network of Swings’ consists of three swings located at the Hangar, Al-Zaatari camp, and the Ruwwad community center in Jabal al Natheef.

The swings were connected via live video stream, allowing people playing on the swings to connect and share the experience.

'The Water Table' is an interactive installation that uses historical data and future projections to take its users on a journey through time. It brings the profundity of the predicament of Jordan’s water resources to the forefront of the user’s imagination and intends to provoke their desire to act.

The collection explores the youthful joys of the past: the happiness one felt when opening a can of Pepsi, a bag of chips or a bar of Canary wafers.

The chair and the light were shaped using the steam bending technique which allows the wood's strength or weakness to dictate the resulting form.

The chair structure is made up of three elements; the arch running front to back along the centerline of the chair, supported by the frame which comprises the legs and a cross element, and the back support which is supported on the arch.

A key feature of the chair design is the mechanical connection of the armrest with front legs and the back supports, which adds to the comfort of the chair.

'Keswa,' meaning covering, mimics the abaya that some women of the Arab/Islamic world wear.

The outside is smooth and rhythmic just like that of the abaya, while the inside reveals the hidden ribs that hold the structure up and give it its character.

The steel piece folds in a geometric way that allows the structure to curve and achieve a rhythmic flow, emulating fabric. 

This dynamic surface is composed of a grid of dynamic pins that compress down, simply by pressure when something is placed on them. The surrounding uncompressed pins act as walls and provide stability to the item, holding it securely in place to resist shaking and tilting. The compressed pins simply pop right back up once the object is removed, making the surface usable for a variety of different applications.

‘Kutleh’ (arabic: block) is an attempt to design a new medium, a new 'stone block', from the surplus and waste of the stone industry and construction projects.

Inspired by the concrete experiments of Roni Horn's chair, this hyperbolic prototype is carved out of the 'block', and assembled from reclaimed tiles of stone, marble and granite slabs.

‘Reinterpreting Ritual Aesthetics’ represents an ongoing attempt to distinguish between living tradition and hollow convention, a fundamental confusion the region suffers from with regards to the veneration of tradition. In 'Sajjadah 01', a calligraphic image-text is employed inspiring contemplation of its display by shifting across semiotic registers, challenging the resistance against the use of lettering as a motif.

This sound amplifier is made of laser-cut layers of different materials to form a horn-like structure within the simple cube. Through a manual mechanism that generates a rotational movement, it amplifies a smartphone's sound naturally without the need of an external power source.

This copper sculpture is the physical embodiment of the sound wave of a human voice reciting the Basmala, which is the opening phrase of the Holy Qur’an meaning “In the name of God, the Most Compassionate, the Most Merciful”. It is an experiment in synesthesia, transforming a sound wave into a physical body.

Beyond the five obligatory prayers, Basmala is recited before beginning work or undertaking a new task, and is even used in rule of law as a preamble to state constitutions. It is a powerful image as well as a sonic symbol. Calligraphic depictions of the Basmala have taken on the power of icons in Islamic art and architecture.

The table abstracts dynamic organic forms into simplified geometric shapes for ease of production using mathematical and geometrical methods. The shapes were machine-cut out of steel sheets, then bent, welded, painted, and finished.

This piece celebrates the eight roundabouts of Amman, from First to Eighth, along one of the city’s main spines: Zahran Street.

As significant elements of the city’s expansion, movement and growth, the circles are reinterpreted as a destination.

The eight circles are collocated around a single center, superimposing their unique skylines and reflecting their true land elevations.

Mirkaz is meant to provide a space for conversation and communal engagement.

“Mirkaz,” is composed of three central pieces: a stool, a small table and chair, all of which are potent symbols of what Lujaine describes as a “rupture between people and places in an urban setting".

The work was born out of Lujaine's residency in the Tanween program by Tashkeel in the UAE.

“The Occasional Cube Table,” explores the motion and rotation of squares and rectangles around a three-dimensional object, in a manner reminiscent of the De Stijl movement.

‘Three Little Socks’ is an abstract introductory narration of the past, present and future states of Syria and aims to open a dialog between a parent, who is already aware of the real events, and a child.

This collection joins traditional Jordanian craftsmanship with cutting-edge fabrication processes, reinterpreting local techniques in a modern framework.

Each product is derived from a careful study of the traditional and the functional, followed by the conception of a model that defies any preconceptions.

The handmade process distinguishes the products from the mass produced.

Hayan designed  ‘The Dancing Letters Wall Piece / Three Arabic letters: Baa, Taa & Thaa’, hanging above the stairs in the Hangar Exhibition going up to the Education Zone.

Hand molded silver, gold plated. Stones are crystals including quartz.

Using generative design and digital manufacturing, the ‘Stray Collection’ is a product of an experimental study that explores the possibilities of merging architecture, technology and fashion.

The pieces are designed to follow the natural body curvature, generating statement pieces that complement the female figure.

18kt gold with sterling silver.

18kt gold with sterling silver.

Packaging design for JoPetrol, inspired by Arabic letterforms, made using casting techniques and plastic injection molding.

This project delves into the world of smart, reusable secondary packaging solutions.

By using layered corrugated cardboard, strengthened paper composites and modern textiles, the disposable brown box is evolved into an attractive, functional and durable package that serves to protect the product for the entire post-packaging process; from the factory floor to the end user and then as an independent product with an extended lifecycle.

‘Litterally’ seeks to raise awareness about the environment and the damage humans have inflicted upon it. The concept is based on a viral video that shows a straw being pulled out of a turtle's nostril.

‘Ferromancy’ consists of a set of three interactive installations. Reflecting on the influence of electromagnetic force on our daily existence, its origin and evolution, this project grants life to a material by using an invisible force and making the invisible visible.

Inspired by natural shapes of the Wadi Rum desert in Jordan, ‘FLO DESK’ was designed using digital modeling software, merging art and design.  

The ‘Car Chair Lift’ is designed for people with physical disabilities. The device allows people to independently transfer themselves from the wheelchair into a car without being carried.

The device uses electricity from the car and can be modified to suit any car's dimensions.

‘Fahres Al-Khattat’ is a cause-driven nonprofit publication and interactive installation that aims to support the calligraphers in Jordan.

‘Fahres Al-Khattat’ features a variety of calligraphy works, attributed to their respective calligraphers and paired with contact details, specialties and services offered.

Collectively, the publication positions itself as a portfolio and a living documentation rather than the traditional directory listings. Each publication is enveloped in a yafta (banner) fabric book jacket with hand-written calligraphy of the Arabic alphabet.

This kinetic suspended wooden ceiling consists of small hanging wooden pieces that are motioned with a simple electromechanical motion system, shaping a three-dimensional wave.

The collection of children’s furniture items is inspired by the gymnastics pommel horse.

The chair and table are made of solid wood, metal, and leather, and have height adjustable legs. Whereas the floating shelves combine pine and natural rope to create a playful yet practical design.

‘Full Heart’ is a still billboard that shows how we would like our heart to appear to others.

The installation is a response to the culture of the ‘likes’, hearts, and range of emojis that have evolved into a valid currency in the digital age.

Only when the viewer decides to move does it reveal the truth behind what really fills our hearts these days, and the reality of our reaction to the world around us.

Hollow Forms is a collection of glass blown objects that were blown in Jaba’, Palestine. The project attempts to reactivate the glass blowing industry and revive traditional craft while learning the ancient techniques that used to draw inspiration from them.

Objects are not blank, hollow shells; rather they have a power to draw people in and alter perceptions.

Dima uses digital design and images to communicate the designs to the glassblowers. The aim, with crossing these boundaries, looking back to move forward, is to produce objects that will resonate a sense of place while maintaining the ability to act on a regional and global level.

This is not a sentimental or nostalgic project; this is an attempt to reactivate the industry and revive traditional craft while learning the ancient techniques that are used to draw inspiration from them.

‘Divided Congregation’ is an audio-visual mapping of mosques in the form of an urban cartographic sculpture.

The work focuses on mosques located in the four major quadrants of the city of Jeddah.

The work attempts to comprehend the shifted role of mosques in cities surrounding the Gulf; from centers of community gatherings for both sacred and secular purposes to their current function as solely places of worship.

‘The Brinery’ is an at-home vessel that makes the fermentation process much simpler and more attractive to contemporary consumers.

This furniture collection is made from reclaimed wood and steel. The materials were purposefully left in their original rugged condition to maintain the integrity of their character and highlight the process they underwent before reaching their final polished state.

Influenced by the waves of an equalizer in music, these wooden fingers fold in to create a desk with a smooth surface.

Inspired by Marcel Breuer's Wassily, this minimal chair highlights the versatility and flexibility of steel in furniture design.

The work combines science, art and persistence to master the process of crystal growth.

Crystalline pottery formed at 1,300 degrees centigrade.

The process of making involves the development of a chemical formula, temperature curve control, and an understanding of the clay used.

The work presents an alternative mode of sustainable design practices through the use of found organic material.

Fallen timber members are integrated into a digital and analogue making process that creates functional objects and structures.

This collection of furniture pieces blends traditional techniques of ‘rammed earth’, which have been brushed aside, with unconventional materials.

‘FLUX’ leverages state-of-the-art technology with physical expression and visual representation. The outcome is a momentary real-time portrait of an individual, presented digitally and powered by his/her movement.

The Stratum chair was born out of a desire to create a chair that expresses its materiality in a very organic fashion, while taking advantage of advanced CNC milling and fabrication technologies.

Comprising of two interlocking parts, the chair can fold and reduce its overall volume by half.

Sharp sinuous lines run along the edges and highlight the its functional features.

The flowing striated pattern is revealed by carving strategically designed local and global geometries into laminated plywood.

Emerging out of an exploration of floating and feeling weightless, the structure of the Rocking Hammock uses three points instead of the two commonly used by a hammock.

The hammock has a minimal structure that keeps the head of the chair cantilevered, while using rope as a material for the body of the chair to soften the harshness of the steel frame.

This project is a prototype for the 7th grade official Jordanian mathematics curricula. It tackles visual design as a communication medium and as an educational element.

The school desk is a study to redesign the public school desk, taking into consideration the materials and manufacturing processes and techniques typically used in producing school desks for public schools in Jordan.

This installation explores the idea of movement through the lens of this complex historical and geological site.

By looking into the rawness in both material and idiom, of sandstone and granite striations found in the geology of the valley, the embrace/grasp that the natural space imparts on its travelers to create an inhabitable form is explored.