ANTA PAGE 6 Projects PAGE 216 Essays PAGE 266 Per- from China, France, regarding the value spectives on critical Spain, Belgium, of manual drawing contemporary the Persian Gulf, and painting for issues and aspects the United States, the formation of of the current ar- and elsewhere architects chitectural debate Archives of New Traditional Architecture fa l l 2 0 2 1 Issue No. 2 In This Issue Essays Javier Cenicacelaya and Fernando Bajo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Mannerism and Monumentality in Petersen’s Faaborg Museum Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Norman Crowe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Making Cities Natural Vinayak Bharne. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Projects Reconciling With My Colonial Heritage Pier Carlo Bontempi Chris Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Il Labirinto della Masone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 The Modern Regionalism of John Gaw Meem Fonti di Matilde. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Robin F. Rhodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 John Simpson Architects The Drawings of Paul Winroth Broneer and the Vernacular Traditions Dickens Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 of the Village of Ancient Corinth Market Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Priyanka Sheth, Tanvi Jain and Aashini Sheth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Fairford Leys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 Water Heritage of Ahmedabad, India New University Quarter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Newcastle Great Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Critique Torti Gallas + Partners John Dutton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Suburban Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Otto Wagner’s Postsparkasse: Architectural Tensions in the Early Modern City Neighborhood Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Mixed Use / Supermarket / Transit-Oriented Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Urban Buildings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Reconstruction and Restoration Luis F. Gómez-Stern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202 Estudio Urbano The Houses of the Jewish Quarter in Seville Ciudad Cayalá. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Tian Leng and Xiaoxin Zhao Drawing Renovation of Williams House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Laurie Olin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Breitman & Breitman Daniel Graves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226 Westermoskee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Simone Boni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Le Plessis Robinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Karl Gruber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234 Bruay-la-Buissière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Gilles Chaillet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242 Bastidas Architecture Giuseppe Valadier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Son Garot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Nicolas Duru Debates and Positions The House of Nature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Alex Krieger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268 Maurice Culot Whose Urbanism? Blaton Tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Andrés Duany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Léon Krier and Jamshid Sepehri Response to Alex Krieger Sehpolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Recent Books of Note. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Editors Editorial Committee Members Graphic Design Archives of New Traditional Architecture is prepared by the staff University of Notre Dame Samir Younés Stefanos Polyzoides Christina Duthie and research associates of the University of Notre Dame School School of Architecture Selena Anders Selena Anders of Architecture and published twice yearly. ISBN: ####-#### 114 Walsh Family Hall of Architecture Richard Economakis Copy Editing Notre Dame, Indiana 46556 Managing Editor Michael Mesko Heather Grennan Gary architecture.nd.edu Mary Beth Zachariades Steven Semes On cover: Aerial view of the proposed development for the northwest Paolo Vitti quadrant of Bologna, Italy, by John Simpson Architects. Learn more about the project on page 30. Jonathan Weatherill Samir Younés Fall 2021 | 1 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU Léon Krier & Jamshid Sepehri Opposite page: The three Mahales (urban quar- ters) of Sehpolis are each approximately 20 hectares, M A L L O R C A , S PA I N A N D WA S H I N G T O N , D C slightly larger than the historic Shivam in Yemen. The famous hilltown and its tightly grouped tower blocks stood model for the basic building-type (colored light pink) of Sehpolis’s urban fabric. The mixed-use small blocks (the ground floors are Sehpolis reserved for trades, work- shops, storage, offices, with Tonb-e-Kochak, The Persian Gulf residential premises above) are positioned in such a way as to form a network of public spaces. The latter The Iranian government has announced the and donate a pilot project, demonstrating what result from the positions of development of its uninhabited Persian Gulf a new traditional Iranian city of the future may the buildings rather than islands in order to secure their historic grounds look like for Tonb-e-Kochak, the smallest of the the reverse. Public build- against undue claims by the neighboring Gulf Persian Gulf islands. The “gift” is sponsored by us ings (colored dark pink) States. alone without outside help, a modest symbolic are located in prominent positions on major squares, gesture hopefully aiding to temper the reigning Mahale gates, and in the We observe with alarm that, since World War climate of aggression against Iran and to stimulate II, Iran has, along with most countries around focus of major vistas. discussions within its authorities, professions, the world, suffered a profound change in the The 1000 x 100 m runway and citizens as to what the country’s future ar- building bisects the island appearance and organization of its cities and ar- chitecture and urbanism are to be. This import- chitecture. The loss of human scale, character, and is bordered by canals. ant national effort could be the occasion for The corniche promenades and beauty, the shocking contrast with the coun- Iran to become a world leader in new traditional bordering the island on all try’s precious traditional cities and landscapes development policies based on the country’s sides are planted with tall are explained as an inevitable fate. Yet to the stellar technical and artistic heritage, its mille- shading trees. The central majority of people the term modern remains nary traditional land-crafts and resources-stew- farming plots (market gar- synonymous with awkward, discordant, con- dens, orchards, vineyards) ardship. Persia was for centuries a standard- are walled with tall adobe firming that “an unspoilt landscape is not a land- bearer in architectural refinement, influencing scape without buildings but merely a landscape walls (their gates are countries as far as India and Spain. Iran may on formed by farmers houses, without modern buildings”(Quinlan Terry). this tiny island realize an inspiring pilot project, barns, stables), the Persian The regular threats pronounced by Western pow- a much-needed counter-model to the garish water gardens are buff- developments of Dubai, Abu Dhabi, Qatar, ered by the West and East ers against Iran and lately even against its unique Mahales and the walled built heritage alarm us extremely. As architects and particularly of Saudi Arabia’s futureless horticultural fields. we have had a lifelong fascination with classical Neom vision or Egypt’s New Capital City. Persian art, architecture, cities, and gardens. Sehpolis is divided into three Mahales (urban We believe that architecture and stylistic trends quarters), each housing approximately 1,400 are not a matter of blind fate but that choices to 1,600 residents in three- or four-story build- exist, as is being proven by many New Tradi- ings. The typical residential buildings hold up tional Architecture and Urbanism projects. We to twelve apartments, duplexes, and penthouses. are part of a worldwide movement practicing, Their ground floors and mezzanines are reserved teaching, and propagating new traditional for nonresidential uses, work, retail, and storage. building crafts, architecture, and urbanism. Public buildings (museum, thermes, schools, When hearing of Teheran’s decision to develop college for thirty-eight building crafts, college its Persian Gulf islands, we decided to elaborate 112 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 113 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU This page, above: Sehpolis is a Tripolis made of three separate Mahales. Each Mahale is a city within the This page, above:, The ground of the island peaks at +20m elevation. The runway is at city, each is organized by a central high street and a central square. In the West Mahale, the latter is formed elevation +10m, allowing the urban loop-way to tunnel the vast structure at elevation +3m. by the bazaar and maidan. The three Mahale high streets combine to form a continuous urban loop. 114 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 115 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU This page, top: The great north corniche is dominated by the tall Tekye Damavand building, a vast hall dedicated to the ceremonial reenactment of the last ten days of Imam Hussein’s life. The faceted polygonal cone is influenced by the famous tomb of prophet Daniel. The tall open pillared porch links the entrances of the great hall to the monumental stairway and ramps down to the beach cove. Below: The urban fabric is formed by 3–4 story buildings above which rise the domes, roofs, spires of public buildings. Opposite page, top: Levant view toward the northeast corniche crowned by the domes and spires of the Farmandari Government Building and the Imam Hus- sein Masjid and University building. Middle: Southeast corniche looking north toward Hafez Poetry Recital Pavilion. Bottom: View south from the Farmandari Government Building toward the runway building and the distant arched Tolu lighthouse. The Farmandari is inspired by Le Corbusier’s Capitol Government Palace in Chandigarh, here translated into Persian Safavid style architecture. 116 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 117 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU The 10m tall runway building is flanked on the landing strip level by arcades following the famed Khaju Bridge in Isfahan. The vast vaulted 1000 x 100m under- croft of the structure is divided into three compartments. The largest serves as a water reservoir modeled on the monumental Kish or Constantinople cisterns. The smaller sections serve as dry storage, vehicle park, repair, and bomb shelter. The airplanes park under a giant 60 x 60m shading roof, lifted onto a tall metallic Tetrapylon. The pyramidal diaphanous screen is inspired by the vast botanic conservatory of Balboa Park, San Diego, and its parent in Ciutadella Park in Barcelona. The entrance porch of the terminal is overshadowed by Massimo Scolari’s monumental Wings sculpture. The tented silhouette references the royal pavilion erected for the Delhi Durbar in 1911. That vast temporary canopy had been inspired by the Persian King Darius’s Nowruz celebration pavilion. 118 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 119 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU Opposite page, top: The North Mahale high street looking eastward from the four towered Muzeh-e Iran-e Bastan palace, toward the Farmandari government palace. Bottom left: Looking west past the towers of the Archeological Museum of Iran (Muzeh-e Iran-e Bastan) toward the golden dome of the Zoroastrian Atashkadeh, situated on the North Mahale’s main square. Bottom right: Looking east toward Farmandari palace and East-Gate Tower past the Imam Hussein Masjid and University on the left. This page, top: View of the North Mahale, East-Gate Square, the Farmandari government palace, and East-Gate Tower. Middle: Central square (Maidan) of the North Mahale, view from the monumental fountain toward the golden-domed Zoroastrian Atashkadeh and portico. The square is sloping southward around a cut-out level perfor- mance platform. Below: View of the Southeast Mahale main square (Maidan) dominated by the twin towers of the Amirkabir University. 120 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 121 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU Opposite page: The acropolis mound is created from building-excavation material. The summit astronomical observatory buildings are reached by shallow earth ramps. The walled compound contains research installations for marine architecture, astronomical and oceano- The observatory mound holds a meteorolog- and scientist residences. graphic research station, local government and ical and astronomical observation station, This page, top: The arcaded administration, hotels, hospital, zurkhaneh, seminar rooms, and scientist residences. Musalla of the Southwest memorials, water towers, fountains) are designed Mahale is reached from the as Landmark Buildings, adorning prominent Hotels are located along the ocean promenades bazaar’s southwest gate, the locations, vistas, squares, gardens promontories. and parkways. northwest gate, and the east gate via the vaulted shopping The walled horticultural and agricultural farms Park promenades and small white sand beach- gallery. The rectangular square deliver the local market with fresh produce. es encircle the island on all sides. is overshadowed by the dome and minaret of the bazaar’s The vast, vaulted 1000 x 80m undercroft of masjid (mosque). Below: The the airport runway is divided into three com- LÉON KRIER is an architect and urbanist, and inaugural bazaar southwest entrance. partments. The largest serves as a water cistern winner of the Richard H. Driehaus Prize. He is the author of The bazaar buildings are iden- The Architecture of Community (Island Press, 2009). tified by the richly perforated and is modeled on the monumental Kish or white marble parapets which JAMSHID SEPEHRI is an architect and urbanist practic- Constantinople cisterns. The smaller sections contrast with the colored glazed ing in Washington, DC. serve as dry storage, vehicle park and repair, tilework of the monumental and bomb shelter. entrance niches. 122 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 123 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU These pages: The Ferdowsi fountain on the south corniche. The archer’s sculpture adorns the access to the Chamran Madrasa (college). Top left insert: The horticultural and agricultural lots are framed by tall adobe walls. The gardeners’ houses, farm buildings, silos, and monumental traditional dovecots form the gates to the differently sized farmyards and planting lots. 124 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 125 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU Compare these images with the ones on pages 116–117. 126 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 127 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU Top: Elevation of the acropolis and the Sehpolis skyline. Bottom left: The Nader Museum, inspired by the Nader Shah Tomb in Khorsabad. Center: Full moon over Sehpolis Harbor, Salasel Castle, Tolu Lighthouse, and boat building yard structures. Right: Hotel and observatory tower, inspired by the Kalyana Mahal Observa- tory, itself having parented the epic Palazzo della Civilta in Rome EUR. 128 | Journal of the School of Architecture, University of Notre Dame Fall 2021 | 129
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