Here, where desert sand meets desert stone, we see a singular opportunity to devise a new contract between man and nature. Reinterpreting the way we have dealt with the earth, our proposal establishes a new benchmark for design, quality and sustainability in the natural environment.
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The first impression with which the Abu Samra house receives the viewer relates to its use of materials and color. By rejecting the conventional use of stone in Amman, and by extending both its textures and the whitish tones associated with most examples of this material in Amman.
‘In creating film one has to know how to take flight with light and understand the nature of its nature; to become a shadow and converse with ambiguity touching it but never gripping it; to understand the concept of contrasting harmony and how opposites bow to each other and sometimes dance in no less capacity than utterly consumed and locked souls; to travel with raw sound, whispers and sometimes silence itself and meet enchantment yet sense the most silent scream to be the loudest; to adopt the gentle breeze and learn a lesson or two on the prolific powers of gentle sways; to know how to become absolutely drunk and utterly intoxicated on a good conversation; to be able to ride chaos and make good sense of it; to use ice cold that is actually hot and make it unarguably cool; to know men and women who wear their hearts on their faces; to converse with the aura of objects and discover the person within each; to erase the line between genius and insanity and discover how to inexhaustibly deconstruct and reconstruct souls and suspend time in between, …’ Khalid Nahhas.