NO.7.

Museum Site of Blue Mosque – Cemetery of Iron Age, Tabriz, Iran, 1998

سایت موزه مسجد کبود، عصر آهن، تبریز، ایران، 1377

سایت موزه عصر آهن تبریز، محوطه باستانی است که در شمال، شمال شرقی و شمال غربی مسجد کبود تبریز واقع شده‌است. شامل گورستان و آثار سفالی مربوط به عصر آهن است.
آثار بدست آمد شامل ۳۸ گور به صورت جنینی دفن شده یافت شد. گور نوزادان بصورت ساده بوده و گور نوجوانان در سازه‌های مربعی با دو ظرف سفالی همراه است. اکثر اجساد یافت شده در سنین پایین مرده‌اند. کودکان با اسباب بازی‌هایشان دفن شده‌اند و زن‌ها با جواهرات و مردها با ابزار جنگی شان. در کنار بعضی اجساد ظروف سفالی و اثرات غذا یافت شده که اعتقاد آنان بر آیین مهرپرستی را تایید می‌کند و کسانی ک ظروف بیشتری در کنارشان یافت شده احتمالاً ثروتمندتر بوده‌اند. سنگ چینی دور اجساد نمادی از دیواره رحم است و اجساد به حالت جنینی یا چمباته‌ای دفن شده‌اند.

#conservation , #presevation
#museum , #archaeological_park


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NO.9.

Umayyad Palace of Amman, Jordan, 1991

Place: Jordan
Construction date/period: First half eighth century, reign of Hisham (724–43)?
Construction materials: Stone, mortar
Architectural pattern: Sculpted stucco, mosaics
Dimensions: Approx. 21,000 m²
Reconstructed wooden dome: Antonio Almagro Gorbea

Situated on Citadel Hill, a lofty plateau overlooking the city of Amman, the palace complex was built during the first half of the 8th century in the capital of the wealthy region of Balqa', in the north of modern Jordan. It doubtless functioned as an urban palace, combining an emir's residence with the seat of government and thus establishing a precedent for many other such buildings, among them the Abassid palaces in Baghdad and Samarra and the caliphal city of Madinat al-Zahra. Facing it was a mosque, whose remains echo the facade of the sole surviving room of the palace. Its three-part structure, its ramparts and the disposition of its living quarters place the complex in the tradition of the "desert castles", especially those, slightly later, of Mshatta and Ukhaydir, but also the contemporaneous Qasr Kharana. However it differs from them in the irregularity of its ground plan, attributable to the reutilisation of the substructure of a Roman temple. Such reuse of ancient foundations was very frequent in early Islamic times, as attested by the Grand Mosque in Damascus. More generally this recourse to such earlier materials as blocks of stone and columns was routine in medieval times, as much in the Islamic world – the Grand Mosque in Cordoba, for example – as in Western castles and churches.
The Amman palace also differs from the majority of "desert castles" in its frequent borrowings from Iranian culture, these being especially visible in the two domed cruciform rooms, each preceded by an iwan, of which only one has survived. Situated at the entry to the palace and in its most northern part, they most likely served as a diwan-i Amm and a diwan-i Khass: public and private audience chambers. An almost identical layout is to be found in the eleventh-twelfth century palace of Lashkari Bazar in Afghanistan, although here there are reminders of the desert castles.
The association of a domed room with the iwan goes back to Sassanid times, as borne out by the remains of the palace of Bishapur. It was often made use of in Iran, in both religious and civil architecture.
The still-standing cruciform chamber betrays Iranian influences both in its barrel vaults and the use of squinches under the dome. Such characteristics of the stucco ornamentation as narrow plinthless columns and arches bearing sawtooth patterns are also to be found at Qasr Kharana, a small building of the same period equally remarkable for its Iranian features. By contrast the vegetal embellishments – running foliation, palmettes, rosettes – circumscribing a tree-trunk or arranged geometrically have equivalents in Syrian decoration of this period. Thus a stucco screen wall in the palace of Qasr al-Hayr al-Gharbi presents very similar motifs and these are already present in the Dome of the Rock.
The use of stone masonry is another characteristic of the region and the stone mosaics of the private section, whose geometrical patterns are probably similar to those of the palace of Qastal in Jordan, display the architects' familiarity with Roman and Byzantine techniques. In Alastair Northedge's opinion the builders, well versed in local practice, had been told by their clients to provide something in the Iranian style.
In its marrying of Eastern and Western traditions the palace of Amman represents a landmark in the new sharing of decorative patterns and building techniques between the two.

#museum_site , #restoration , #archelogical_site
#presevation , #dome

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NO.14.

Mercat del Born, Spain, 2013

Mercat del Born is a former public market and one of the most important buildings in Barcelona, Catalonia, Spain constructed with iron. Located in the lower and eastern side of the la Ribera neighborhood, it is the largest covered square in all of Europe and marked the start of Modernisme in Catalan architecture.

Design
The market is rectangular, with two large domed, intersecting buildings, and 4 smaller naves. The structure is supported on cast iron columns with a flat roof covered in glazed tile

History
The market was designed in 1873 by the municipal architect Antoni Rovira i Trias (who also designed the Mercat de Sant Antoni) and built between 1874 and 1878 by master builder Josep Fontserè i Mestre and engineer Josep Maria Cornet i Mas. The structure of cast iron columns and metallic horses was fabricated by La Maquinista Terrestre i Marítima.
The market came into operation in 1878 and was in use as the central market in town until 1971. At its closure, it was functioning as a wholesale market, but was replaced with the opening of Mercabarna in Zona Franca.

Restoration
Restoration work started and stopped several times since the closure of market. Each successive city government had a different plan for the very large space. At some points, there were even plans to lease it to a retail establishment such as FNAC who had expressed interest.
After closure, it fell into a state of disrepair and was restored 1977 to 1981 under the direction of Pere Espinosa.
In 2002 work was started to install the Biblioteca Provincial de Barcelona, but during excavations, extensive ruins of the medieval city were discovered. It was then decided to preserve the ruins and move the library project to another location.
Currently, the market covers these archaeological ruins which were part of the la Ribera district that was demolished in the early eighteenth century after the defeat of Catalonia in the War of Succession in 1714. This portion of la Ribera was forcibly demolished to make way for the construction of the Ciutadella military structure as ordered by the new Spanish king, Philip V.
The plan that finally came to fruition in 2013 was to expose the subterranean ruins for visitors while preserving space around the exterior of them for mixed use, cultural center, in addition to having a museum about the War of Succession onsite. At the same time, it is now possible for pedestrians to pass freely from Passeig del Born through to the other side that leads to the park of Ciutadella.
The official inauguration of the restored market was September 11, 2013 which was the 299th anniversary of the fall of Barcelona following its siege that marked the end of an independent Catalonia state and the start of nearly three centuries of suppression of Catalan autonomy by the Spanish Kingdom.

#marcet , #biblioteca , #restoration , #presevation
#culture_center , #museum , #archeological_site , #lighting

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The geometric abstraction implicit in every architectural work appears in the proposal with the boldness of a contemporary installation in the public space, transformed into an apparently random sequence of conical intersections derived from a single, virtual three-dimensional figure. Curved glass surfaces with a continuous silkscreen print filter light towards the interior and, inversely, illuminate the square with artificial light at night. A cultural institution like the Joanneum Museum, on which the Kunsthaus Graz is dependent, thus expresses the changing relationship between art and city.
The square that centralizes the access to the museums is an unusual intervention in the urban space: a bet on the common action between plastic arts and architecture that will incorporate specific installations in collaboration with contemporary artists. The new extension goes almost unnoticed, concealed beneath the pavement that connects the historical buildings, as a materialization of a perforated horizon that expresses, and not only literally, that the depth of an architectural work can reside, unexpectedly, on its surface.

#museum , #extension , #conference_hall , #reading_area
#archive , #library , #art_gallery , #lighting

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در دهه چهل در عرصه خانه و باغ امیر نظام دو مدرسه ساخته شده بودند.
برای تکمیل احیاء مجموعه، این مدارس خریداری و در پائیز 94 تخریب گردیدند.
در مرحله اول نسبت به حفارى وشناخت ساختار اوليه باغ اقدام سپس طراحى لازم انجام ونهايتاً عمليات تكميل باغ ومحوطه در ارديبهشت سال جارى به سرانجام رسيد .
عمليات پيگردى جهت شناخت بناهاى تاريخى تخريب شده در ضلع جنوبى وغربى مجموعه در حال انجام ميباشد پس از تكميل اطلاعات حاصله طرح توسعه موزه تكميل خواهدشد
با تشکر از سرکار خانم مهندس مجتهدی و آقای مهندس تقی زاده که اطلاعات مربوط به موزه های آذربایجان را در اختیار ما گذاشتند.
#restoration , #adaptive_reuse , #compatible_use , #interior
#landscape , #lighting , #museum , #house , #revitalization

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NO.33.

New Department of Islamic Art Opens, France, 2012

•Year: 2005 - 2012
•Tipology: Museum
•Location: Paris, France > map
•Client: Musée du Louvre, Paris, France
•Budget: 42 milion €
•Total Area/Surface/Volume: 6.800 Sq m.
•Awards: International competition. Winning project,

The new Department of Islamic Arts is designed by Milanese architect Mario Bellini and his French colleague Rudy Ricciotti, who won the commission through an international competition in 2005. Similar to I.M. Pei, the pair created a naturally lit, subterranean gallery space beneath an undulating, glass roof within the courtyard of the historic Cour Visconti.
Excavated to a depth of 12 meters (40 feet), the 2,800 square meter (over 30,000 square foot) open-plan gallery will become the new home of the Louvre’s prestigious collection of Islamic Arts. The gallery’s lower level and long sculptural stairway are comprised of a special black waxed concrete, providing a stark contrast to the seemingly floating glass roof and the nearly invisible glass perimeter walls.
One of the major challenges of the design was to create a contemporary addition that could respectfully coexist with the surrounding facades of the existing, 18th century Cour Visconti.
Bellini describes, “The solution was a foulard that undulates as if suspended in space by the wind, almost touching the ground of the courtyard at one point, but without totally encumbering it or contaminating the historic facades.”
He further argues, “Obviously, no references to flying carpets, Islamic veils or musciarabia: simply a deep respect for the Islamic collection, combined with a personal knowledge (gained during the course of numerous journeys) of its geographical and cultural context.”
The “enormous veil” is constructed of a free-form lattice of 8,000 steel tubes and insulating double glazing, cloaked in gold and silver aluminum mesh. Triangular polished aluminum honeycomb panels are also integrated into the floating structure to refract the external images and diffuse daylight.
The roof weighs a total of 120 tons with a thickness ranging from 20 centimeters to 1.50 meters and a maximum height of 8 meters. It is supported by eight “light” and “slightly inclined” pillars that accentuate a sense of lightness.

#addition , #new_design , #lighing ,
#interior_desigh , #museum

@revitalization