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The goal of the study is to underline “Cinematic Architecture” as another source of architectural thinking and research. This study is also a response to the shortage in empirical research on architecture in the cinema. Moreover, the study introduces the architectural components that qualify the cinematic spaces to be influential cinematic experience. This is in addition to investigating the impact of these components on the viewers' cognitive and emotional experience of films.

In the reported study, an empirical experiment examined scenes from three different movies as experienced by a selected group of audience of movies fans (architects and laypersons). The audience was asked to report feelings the audience had about each scene using a questionnaire that was designed for this purpose, and the audience was asked to write down the aspects that affected the audience's emotions. The experiment evaluated selected emotional states and could specify the architectural features and/or objects that significantly contributed in inducing these emotions.

This study's findings concluded that emotions, which exist in the positive margin of the emotions “circumplex model,” were influenced by architectural components that were different from those that influenced emotions which lie in the negative margin of the model.

As for filmmakers, the study contributes in developing filmmakers' knowledge about the role of architecture in scenic creation and thus how that knowledge enhances filmmakers' film narrative and the narrative's spatial imagery. As for academia, this study contributes in developing the knowledge about film cognition as related to architectural semiotics. In the context of behavioral approach to architectural design, a behavior setting which is the basic element in environmental design can be dramatized by applying a cinematic narrative to a human activity system within a milieu of architectural design elements.

This study is important for architects, as the study provides architects with an alternative tool for fictional experience and for testing architectural ideas through cinematic architecture. This study also helps in developing new venues for the practice of architecture into the world of fiction. This study also contributes in developing the trend that architectural design thinking can learn from cinematic thinking and practice.

This study introduces an empirical approach to evaluate architectural entities as part of cinematic experience. This study also comes as a response to the shortage in empirical research on architecture in the cinema.

The aim of this study is to investigate the collective memory of urban cultural heritage sites for selected traditional markets in Down town Amman city – Jordan. The study also introduces the concepts urban artifacts and architectural archetypes as an urban/architectural framework for investigating the collective memory of traditional markets.

The study followed a qualitative research methodology with a (bottom-up) approach focusing on narrative and structured interviews. The interviews were conducted with 20 participants in each market. This was in addition to archival data collection and site observations.

The study revealed that the users of the two markets do have a shared collective memory manifested in multiple forms of cultural expressions. It also revealed the significant role of collective memory in fostering recognition of the urban and cultural significance of the two markets in the form of architectural archetypes and urban artifacts.

The study contributes in further developing the understanding of architectural heritage in the context of collective memory, and understanding architectural heritage in the context of the city through the concept of urban artifacts.

The study demonstrates that preservation of collective memory can influence people’s attitudes and behaviors as they develop a collective responsibility toward the cultural heritage site.

This is the first focused study to introduce the traditional markets of Downtown Amman within the theoretical framework of collective memory. The study also introduces a new scientific investigation of urban cultural heritage in the context of urban artifacts.

The purpose of the paper is to compare the aesthetic responses of three groups (architects, engineers and non‐experts) to a set of non‐conventional structures.

A group of 150 respondents (divided into three equal sub‐groups of architects, structural engineers, and non‐experts) were selected to participate in the main study, which used 14 different non‐conventional structural systems. The images of these systems were derived from an earlier pilot study. The evaluation tool included 38 semantic items, also derived from the pilot study. Two statistical analyses were applied to the collected data: factor analysis and ANOVA.

Finds, first, that factor analysis revealed a set of factors identified by all participants as meaningful dimensions, by which they evaluate structural systems. Second, ANOVA revealed differences between the three groups when evaluating different structural systems using the identified factors. Differences between the groups were attributed to their different backgrounds and technical training.

The study argues that understanding the aesthetic experience of architects, engineers and ordinary users of structures is essential. First, it helps the designers to establish the basis for selecting appropriate structural methods and materials in relation to building design. Second, it would also help the designers to better understand the relationship between the structure and architecture in terms of a trade‐off between the technical and aesthetic issues. Third, it helps the designers to better understand how their designed structures are perceived by the public.

This study introduces an alternative approach to the study of the aesthetics of structures, with a focus on non‐conventional structures.