I welcome you to Year 10 of the architectural competition for the reconstruction of destroyed Palestinian villages. This year we have 21 participants formed in 13 teams supervised by 9 coordinators from 8 universities.  Eleven teams submitted final plans. They are the ones competing today.

Over the last 10 years, we have a total of 358 participants from 19 universities.  They produced full plans for 125 villages, some are multiples.

This competition is in fulfilment with our motto: We build… they destroy… we build again.

Yes, we built 1200 cities and villages in Palestine over the last 5000 years. In 1948, the Barbarians came to our shores from Europe in smugglers’ ships. They destroyed 530 cities and villages, depopulated them and made its people refugees, 9 million to-today.

Yes, we built. They destroyed. Not only they destroyed in 1948 but ever since, in the last 28,500 days since 1948.

Of these days, in the last 1000 days, the Barbarians have scored a unique infamous record in human history in the extent of its barbarity. In Gaza Strip, they killed and wounded over 300,000 people, mostly women and children. That is 14% of the population. In the Uk this is equivalent to ten million people.

The Barbarians destroyed every aspect of civil life: schools, universities, hospitals, homes, bakeries, water supplies and agricultural fields.

The Barbarians cut off all means of life: they starved people, prevented food, water, medicine and every kind of aid from entering Gaza.   

Barbarity has now a new vocabulary in the history of mankind. It shall be a lesson for those who do not learn, and those who do not resist this scourge inflicted upon humanity.

We do resist.  We built over millennia. They destroyed it over weeks. But we shall rebuild, rebuild and shall continue to rebuild.

That is why you are here today.  Your colleagues in Gaza worked from tents, under the falling bombs, with or without power.  We shall honour them in a special way and give them special consideration.

We welcome you here today and welcome our guests. We have members of Architects for Gaza AFG who have done valuable work for the reconstruction of Gaza. Our Jury are the initiators of AFG.  We have online interested architects in our competition.

This competition could not have lasted many years, going now into the eleventh without the support of  our dedicated Jury. They are professors of architecture at Westminster University and distinguished practicing architects.  

Our Jury formed Architects for Gaza AFG, a group of 1000 architects world wide to rebuild Gaza.

Now I would like to reintroduce our illustrious jury. All of them are PhD doctors, professors and professional architects.

They are: Nasser Golzari Jury chair, Yara Sharif, Angela Brady and Rim Kalsoum. I would like to thank them  all.   (applause). Now over to Dr Nasser Golzari to start the proceedings. Over to you Nasser.

Winners and Projects

First Award : Leen AbuArayes(Team Leader), Ghazl Nour, Saeed Daghlas
Coordinator name : Dr. Mohammad Jawabreh

University : Birzeit University

Project Title: Silent Witnesses: Revival of the Depopulated Village of Deir Al-Hawa: Mapping the invisible

An interactive archive of a layered cultural landscape shaped by time, architecture, and memory.

Second Award (Joint) : Noura al Naamani
Coordinator name : Yaser Abu Nasr and Beata Dreksler
University : American University of Beirut 

Project Title: Suruh, Palestine: A Future Palimpsest of Return and Repair

Third Award : Shaden Jawad Aqraa
Coordinator name : Dr. Hasan Al-Qadi 
University : An Najah National University

Commendation : Misk Basim Khwailed 
Coordinator name : Dr. Hasan Al-Qadi 
University : An Najah National University

Project Title: Reconstruction of the Destroyed Palestinian Villages
Abu Shusha Village - Haifa (47 SOUL – روح السَبعة و أربعين)

47Soul is based on the idea of reviving Abu Shusha Village by rebuilding the relationship between people, memory, heritage, land, and the future. The project does not treat the village as an archaeological site separated from its present, nor does it limit revival to rebuilding the lost buildings. Instead, it aims to restore the spirit of the place and the relationships that once connected people to the village and its land.

From this idea, the recovery of memory is transformed into a spatial experience that visitors can experience through movement. The journey begins with the memories and remains of the village and gradually extends toward the land and agriculture as a vision for its future.
The project is based on continuous movement as a main design principle. The path acts as the backbone of the project, connecting all its parts and creating a continuous experience instead of treating each building or site as a separate element. The journey begins at the Khan, continues through the introductory exhibition and museum, then extends toward the archaeological sites across the site before reaching the agricultural hill. In this way, movement becomes a tool for discovering the village and reading its history.
Another main principle is preserving what remains and connecting it to the project. Instead of moving the archaeological remains or separating them from the new use, they are kept in their original locations and integrated into the visitor's journey. Each archaeological site becomes a point of discovery connected to the exhibition that explains its history. The visitor moves from understanding the history inside the museum to experiencing the actual remains in their original setting. This approach protects the authenticity of the place while giving the archaeological elements an active role within the project.

The design also focuses on connecting history with place. The history of Abu Shusha is not presented only through information, but through the actual places where this history took place. The relationship between the museum and the archaeological sites is therefore organized to create a clear journey between knowledge and experience, from learning about the history, to reaching the site, and finally discovering it within its real context.

Respecting the site and its topography is another important principle. The hill, land, and natural agricultural terraces are treated as part of the identity of the project. The movement follows the natural character of the land, while the architecture adapts to the existing topography instead of making major changes to it. This approach continues toward the agricultural hill, where the design follows the natural terraces and reconnects architecture with the landscape.

Integrating the History and Heritage of Abu Shusha
The history and heritage of Abu Shusha are integrated into the project by treating the remaining archaeological elements as active parts of the design, rather than as separate objects. This begins with the Khan of Abu Shusha, which is rehabilitated as the reception point and the beginning of the journey, bringing back its role as a place connected to the movement of people within the village.

The main path then connects a series of archaeological sites that represent different aspects of the village's history, including the Sheikh Abu Shusha Shrine, the village well, the mosaic floor site, and the olive press. Each site is reached through a path connected to the exhibition that introduces its history. This creates a direct relationship between the story presented inside the museum and the actual place where that history happened.
Instead of being treated only as preserved remains, these elements become living stops within the architectural journey. Their locations also help shape the movement and organization of the project.

Through this approach, the project does not attempt to reproduce the past exactly. Instead, it preserves what remains and gives it a new role within contemporary life. The archaeological remains stay in their original context while becoming part of an experience that allows visitors to understand their historical and cultural value.

Agriculture as Part of the Village Identity
The revival of Abu Shusha cannot be separated from agriculture, which was an essential part of the life of the village and an important source of work and connection to the land. Therefore, agriculture is not treated as a decorative landscape element, but as an important part of the project's program and identity.

The architectural journey reaches the agricultural hill at the end of the main path, where a productive agricultural center is introduced. The center follows the natural agricultural terraces of the land and works with the existing landscape.

Here, agriculture moves from being a memory of the village's past to becoming an active and productive activity that can contribute to its future. This reflects one of the main ideas of the project: reviving the village does not only mean recovering what was lost, but also reactivating the elements that shaped its life, especially the land and agriculture.
Therefore, the journey of 47Soul moves from memory to heritage, from heritage to land, and from land to the future. Architecture becomes a tool for reconnecting people with the place, preserving the history of the village, and bringing back its agricultural identity as part of a new vision for its future.

The goal of 47Soul is not simply to create a museum that documents Abu Shusha Village. Instead, the project aims to revive the village as an integrated spatial, cultural, and agricultural environment. It transforms memory from something static that is displayed inside a museum into a living experience connected to the actual place. At the same time, it rebuilds the relationship between people and the land that was once an essential part of village life.

The project therefore moves gradually from the past toward the future. The journey begins by recovering the memory of the village and understanding its history, then continues through the remaining archaeological sites, and finally reaches the agricultural hill and its productive center.
This transition represents a vision for the future of the village after liberation. Revival is not understood as simply rebuilding what once existed, but as an opportunity to create a new life based on land, agriculture, heritage, and identity.

The main design fundamentals are based on the continuous path, connection between the museum and archaeological sites, respect for the site's topography, preservation of existing heritage, and the relationship with the land.

The path acts as the main connecting element between all these components. The museum works as a tool for understanding and reading the history of the village, while the archaeological sites provide physical evidence of its past. The agricultural hill then becomes a place for productive activity and a symbol of the future.
In this way, the project is transformed from a collection of buildings and spaces into one continuous journey that begins with memory and ends with action, from knowing the village, to discovering its remains, and finally restoring its relationship with the land.

This journey represents the essence of 47Soul: architecture becomes a way to reconnect what was separated, people, place, memory, heritage, and land, and to transform the memory of Abu Shusha from a preserved past into a future that can be revived.

Commendation: Amneh Awesat
Coordinator name : Dr. Maha Samman
University : Al Quds University- Palestine

Project Title: Reviving the Depopulated Village of Deir al-Hawa: From Agrarian Memoryscapes to Productive Sustainable Development.

1. Introduction & Conceptual Framework: Architecture as an Act of Return and Memory

The project for reviving the depopulated village of Deir al-Hawa in Jerusalem's Al-Arqoub region stems from an architectural and philosophical vision that goes far beyond traditional restoration or stone reconstruction. It is a deliberate endeavor to reclaim the site as a living entity imbued with collective memory. The Palestinian rural village was never merely a transient settlement; rather, it embodied sustainable living, a profound bond between people and land, and harmony with agricultural cycles.

Consequently, the project treats Deir al-Hawa as a living memory—not as a static museum meant for passive contemplation, but as a productive ecosystem and sustainable community. Grounded in pre-1948 heritage, the project redefi nes the relationship between humanity and the earth, posing a fundamental question: How can architecture become an act of return, and how can spatial memory transform into an engine for cultural and economic revival?

2. Comprehensive Urban Planning Across the 5,907-Dunum Scope
The intervention spans an entire geographic and historical area of 5,907 dunums, requiring a broad and meticulously studied planning approach. Urban rehabilitation extends far beyond the historical core through an integrated network comprising:

Walking Trails and Historic Pathways: Reviving old circulation routes between fi elds and agricultural terraces to off er visitors and residents a contemplative, slow-paced movement experience akin to that of the traditional Palestinian farmer.

Reclaimed Agricultural Terraces: Restoring and cultivating the terraced stone fi elds that form the spine of the site’s topography, bringing them back into active agricultural production.

Distributed Housing Sectors (Standard and Agricultural Housing): The master plan introduces two primary typologies: Standard Residences distributed across 50 plots (1 dunum each), featuring two-story homes (100–150 sq m) for general living and visitors; and Agricultural Units distributed across 50 plots (3–10 dunums) to support seasonal farming. These farmhouses feature a traditional Palestinian ground-fl oor storage unit (Makhzan) and an upper residential level (~90 sq m).
Communal Facilities: Designed to serve both local inhabitants and visitors, ensuring enduring social and economic vitality.

3. The Built-up Area: Architecture of Narrative and Memory
The primary architectural intervention focuses on the original 4-dunum Built-up Area, where the Story-telling Spatial Complex emerges as the narrative and visual threshold of the project.

Concrete Walls Bearing Memory: Concrete walls of varying, carefully engineered heights trace the site's contours, rising precisely upon the foundations of the demolished houses. These walls serve as spatial canvases carrying artworks, inscriptions, and visual narratives that recount the history of Deir al-Hawa and its people.

Functional Components of the Complex: The complex brings together the following core facilities:

1.Exhibition Center: A cultural space showcasing the village's history, tangible and intangible heritage, and oral histories.

2. Village Restaurant: A space off ering traditional cuisine deeply rooted in local land and seasonal crops.

3. Agricultural Production & Craft Facility: Housing an olive press, mills, and dedicated workshops for local traditional crafts, bridging past and present through a real productive economy.

4. Landscape Design and Graduated Agrarian Belts
The central complex is framed by a carefully structured network of graduated agricultural belts refl ecting Palestine’s diverse biodiversity:

Botanical Graduation: Moving from the immediate surroundings outward, the landscape transitions from aromatic and medicinal herbs, to cacti and desert plants, to fruit trees (pomegranate, fi g, lemon), and fi nally to expansive olive groves covering the hills.

Interactive Experience: These open fi elds allow visitors to engage in hand-harvesting seasonal crops, reinforcing a sensory and physical connection to the earth.

Natural Acoustic Buff ers: Cypress trees (Cypress) are strategically planted along main access roads and sensitive edges to act as natural wind and sound barriers, securing visual privacy without compromising the authentic ecological fabric.

5. Deir al-Hawa Summit and Teleferic: Bridging Land and Sky
The project culminates at the village’s highest summit (675m above sea level), crowned by a sprawling 150-dunum park off ering lush green spaces and unique viewing platforms.

The Cable Car (Teleferic) Link: A modern, sustainable transit system bridging the main project zone across the topography to the opposite Mount Ismail—home to the historic Shrine of Sheikh Ismail.

Historical and Functional Context of the Mountain: Mount Ismail was historically a vital pathway used by residents to reach northern villages such as Kesla and its surroundings. The cable car revives this spatial and functional connectivity within a contemporary, low-impact sustainable framework.

6. Reactivation of the Historic Jaff a-Jerusalem Railway: The Journey as Recovery
Extending beyond the summit and village, the project taps into regional historical infrastructure by
reactivating the historic Jaff a-Jerusalem railway.

Restored carriages ascend from the valley fl oor toward the summit through successive historical stations such as
Soreq Cave and the Maqam of Sheikh Sulayman.

The train journey transforms from mechanical transport into a living narrative and visual experience, allowing travelers to merge with the unfolding landscape and layers of history, turning the act of arrival itself into a journey of reclaiming memory, land, and place.

7. Why This Project Deserves Recognition and Winning Selection
The project validates its excellence through fi ve core pillars, establishing a replicable model for depopulated Palestinian villages:

1.A Layered Vision: Operating simultaneously at three scales—urban re-planning across 5,907 dunums, architectural intervention in the 4-dunum core, and landscape design within the 150-dunum park.

2.Architecture as Narrative: Transforming concrete and stone walls into spatial acts of remembrance against erasure, translating absence into a tangible physical presence.

3.Productive Sustainability: Preventing the village from becoming a static museum by reviving its agrarian identity through an olive press, craft workshops, and seasonal belts.

4.Journey as Experience: Reactivating the historic railway and cable car to make arrival a holistic experiential sequence echoing the farmer’s pace.

5.Contextual Authenticity:Rooting all architectural forms and materials in the vernacular language and topography of the old village rather than imposing foreign interventions.

8. Conclusion: Architecture as an Act of Resilience and Return
Ultimately, the Deir al-Hawa revival project demonstrates that Palestinian architecture can transcend concrete and stone to become a primary defense of identity and memory. It proclaims that land cultivated and cared for with love and rigor is never abandoned by its people. Today, Deir al-Hawa is no closed chapter of the past, but a living blueprint for the future—a profound affi rmation that rooted identities will eventually blossom into return.