The Foundation for the Development of the Lands Adjacent to the Baptism Site has revealed seven shortlisted concept designs for the new Museum of Jesus' Baptism at Bethany, Jordan. The proposals, now available in an online gallery, were developed by internationally recognized multidisciplinary teams led by AAU Anastas, heneghan peng architects, Níall McLaughlin Architects, Studio Anne Holtrop, Tatiana Bilbao ESTUDIO, Toshiko Mori Architect, and Trahan Architects.
Managed by Malcolm Reading Consultants, the invited competition seeks an architect-led multidisciplinary team to design a museum and garden that responds to the sacred character of the site. The project is planned to open in 2030, marking the bimillennial of Christ's baptism, and aims to create a space of reflection, learning, and cultural exchange. The museum will form the cornerstone of the Baptism Development Zone master plan, anticipated to attract up to 450,000 visitors annually.
Supported by the Hashemite Kingdom of Jordan under the patronage of His Majesty King Abdullah II and funded in part by the Church of Jesus Christ of Latter-day Saints, the project will be developed in coordination with UNESCO and local communities. The competition's Advisory Panel, featuring figures such as Professor Barry Bergdoll and Princess Alia Al-Senussi, will meet later this year to interview finalists, with the winning design expected to be announced in early 2026.
AAU Anastas' proposal interprets the site as an extension of its surrounding landscape, positioned at the intersection of the Great Rift Valley and a geological depression. The design engages with the area's environmental conditions, characterized by heat, low oxygen levels, and water scarcity. Conceived as a continuous stone path, the museum guides visitors through varying spatial and climatic experiences. Constructed from locally sourced basalt, the structure integrates with the topography and local ecology, relying on passive strategies such as shade, airflow, and material performance rather than mechanical systems for comfort.
heneghan peng architects' proposal is conceived as a structure embedded within the geological layers of Al-Maghtas. The design aims to preserve the area's long-standing spiritual character by integrating architecture with the terrain rather than imposing new formal gestures. The museum aligns itself with the stratigraphy of the land, where traces of the Jordan River remain visible through the soil and subtle depressions in the landscape. A linear formation resembling an ancient tributary defines the project's edge, designed to collect and channel water when it appears.
Níall McLaughlin Architects' proposal organizes flexible gallery spaces between rammed earth and stone walls that contain displays, circulation, and services, using locally sourced materials and regional craftsmanship. Visitors move from an arid wilderness garden, descending into the earth, crossing a water-filled rift, and re-emerging into a cultivated paradise garden. The eastern entrance and western exit, facing each other across a public square, are defined by triangular and circular openings referencing the Alpha and Omega. Above, an open stepped roof forms an accessible landscape that recalls an archaeological site.
Studio Anne Holtrop's proposal emphasizes minimal intervention and alignment with the site's protected natural environment. The design is conceived as an expansive roof that follows the terrain, integrating the museum into the landscape through gentle shaping of the ground and modulation of light and shadow. A tree nursery connects cultivated and native ecologies, supporting research and plant adaptation, while green corridors link the museum to the pilgrimage route, providing shade and framed views.
Tatiana Bilbao ESTUDIO's proposal is positioned at the intersection of cultivated fields and natural wadi systems, integrating geometric order with the organic flow of the landscape. The design interprets baptism as immersion, both physical and spiritual, guiding the spatial and experiential organization. A large hovering roof shelters the program, provides shade, and supports vegetation, while water circulates throughout the site, shaping movement, atmosphere, and light.
Toshiko Mori Architect's proposal presents a series of modest, contemplative structures designed with attention to local materials and traditional vaulted construction. Drawing inspiration from the dwelling of John the Baptist, the museum is composed of clay and stone pavilions integrated into the landscape. The design combines architecture and gardens to explore botany, geology, archaeology, and anthropology, highlighting the relationship between nature, culture, and faith.
Trahan Architects' proposal features a below-grade structure that accommodates the natural movement of water, while above-ground landscapes with native plantings guide visitors through a contemplative wilderness. Underground galleries are organized around the themes of Wilderness, Water, and Witness, each incorporating courtyards that frame the sky and immersive spaces beneath restored wadis. Constructed from locally sourced rammed earth, the museum offers a modest architectural presence, providing a reflective experience that traces a descent into the earth and a gradual ascent toward the sacred Baptism Site.
