ANTA fa l l 2 0 2 1 Issue No. 2 PAGE 6 Projects from China, France, Spain, Belgium, the Persian Gulf, the United States, and elsewhere PAGE 216 Essays regarding the value of manual drawing and painting for the formation of architects PAGE 266 Per- spectives on critical contemporary issues and aspects of the current ar- chitectural debate Archives of New Traditional Architecture University of Notre Dame School of Architecture 114 Walsh Family Hall of Architecture Notre Dame, Indiana 46556 architecture.nd.edu In This Issue Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 From the Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Projects Pier Carlo Bontempi Il Labirinto della Masone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 Fonti di Matilde. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 John Simpson Architects Dickens Heath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Market Hall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Fairford Leys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 New University Quarter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Newcastle Great Park . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Torti Gallas + Partners Suburban Repair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Neighborhood Transformation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Mixed Use / Supermarket / Transit-Oriented Development. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Urban Buildings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Estudio Urbano Ciudad Cayalá. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .44 Tian Leng and Xiaoxin Zhao Renovation of Williams House . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Breitman & Breitman Westermoskee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Le Plessis Robinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84 Bruay-la-Buissière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Bastidas Architecture Son Garot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Nicolas Duru The House of Nature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Maurice Culot Blaton Tower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Léon Krier and Jamshid Sepehri Sehpolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Essays Javier Cenicacelaya and Fernando Bajo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Mannerism and Monumentality in Petersen’s Faaborg Museum Norman Crowe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Making Cities Natural Vinayak Bharne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 Reconciling With My Colonial Heritage Chris Wilson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 The Modern Regionalism of John Gaw Meem Robin F. Rhodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 The Drawings of Paul Winroth Broneer and the Vernacular Traditions of the Village of Ancient Corinth Priyanka Sheth, Tanvi Jain and Aashini Sheth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Water Heritage of Ahmedabad, India Critique John Dutton . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Otto Wagner’s Postsparkasse: Architectural Tensions in the Early Modern City Reconstruction and Restoration Luis F. Gómez-Stern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .202 The Houses of the Jewish Quarter in Seville Drawing Laurie Olin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Daniel Graves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .226 Simone Boni . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .230 Karl Gruber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234 Gilles Chaillet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242 Giuseppe Valadier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .252 Debates and Positions Alex Krieger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268 Whose Urbanism? Andrés Duany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 Response to Alex Krieger Recent Books of Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Editors Samir Younés Selena Anders Managing Editor Mary Beth Zachariades Editorial Committee Members Stefanos Polyzoides Selena Anders Richard Economakis Michael Mesko Steven Semes Paolo Vitti Jonathan Weatherill Samir Younés Graphic Design Christina Duthie Copy Editing Heather Grennan Gary Archives of New Traditional Architecture is prepared by the staff and research associates of the University of Notre Dame School of Architecture and published twice yearly. ISBN: ####-#### On cover: Aerial view of the proposed development for the northwest quadrant of Bologna, Italy, by John Simpson Architects. Learn more about the project on page 30. Fall 2021 | 1 Opposite page: The three Mahales (urban quar- ters) of Sehpolis are each approximately 20 hectares, 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 reserved for trades, work- shops, storage, offices, with residential premises above) are positioned in such a way as to form a network of public spaces. The latter result from the positions of the buildings rather than the reverse. Public build- ings (colored dark pink) are located in prominent positions on major squares, Mahale gates, and in the focus of major vistas. The 1000 x 100 m runway building bisects the island and is bordered by canals. The corniche promenades bordering the island on all sides are planted with tall shading trees. The central farming plots (market gar- dens, orchards, vineyards) are walled with tall adobe walls (their gates are formed by farmers houses, barns, stables), the Persian water gardens are buff- ered by the West and East Mahales and the walled horticultural fields. Léon Krier & Jamshid Sepehri 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 Sehpolis Tonb-e-Kochak, The Persian Gulf ! e Iranian government has announced the development of its uninhabited Persian Gulf islands in order to secure their historic grounds against undue claims by the neighboring Gulf States. We observe with alarm that, since World War II, Iran has, along with most countries around the world, su ff ered a profound change in the appearance and organization of its cities and ar- chitecture. ! e loss of human scale, character, and beauty, the shocking contrast with the coun- try’s precious traditional cities and landscapes are explained as an inevitable fate. Yet to the majority of people the term modern remains synonymous with awkward, discordant, con- firming that “an unspoilt landscape is not a land- scape without buildings but merely a landscape without modern buildings”(Quinlan Terry). ! e regular threats pronounced by Western pow- ers against Iran and lately even against its unique built heritage alarm us extremely. As architects we have had a lifelong fascination with classical Persian art, architecture, cities, and gardens. We believe that architecture and stylistic trends are not a matter of blind fate but that choices exist, as is being proven by many New Tradi- tional Architecture and Urbanism projects. We are part of a worldwide movement practicing, teaching, and propagating new traditional building crafts, architecture, and urbanism. When hearing of Teheran’s decision to develop its Persian Gulf islands, we decided to elaborate and donate a pilot project, demonstrating what a new traditional Iranian city of the future may look like for Tonb-e-Kochak, the smallest of the Persian Gulf islands. ! e “gift” is sponsored by us alone without outside help, a modest symbolic gesture hopefully aiding to temper the reigning climate of aggression against Iran and to stimulate discussions within its authorities, professions, and citizens as to what the country’s future ar- chitecture and urbanism are to be. ! is import- ant national e ff ort could be the occasion for Iran to become a world leader in new traditional development policies based on the country’s stellar technical and artistic heritage, its mille- nary traditional land-crafts and resources-stew- ardship. Persia was for centuries a standard- bearer in architectural refinement, influencing countries as far as India and Spain. Iran may on this tiny island realize an inspiring pilot project, a much-needed counter-model to the garish developments of Dubai, Abu Dhabi, Qatar, and particularly of Saudi Arabia’s futureless Neom vision or Egypt’s New Capital City. Sehpolis is divided into three Mahales (urban quarters), each housing approximately 1,400 to 1,600 residents in three- or four-story build- ings. ! e typical residential buildings hold up to twelve apartments, duplexes, and penthouses. ! eir ground floors and mezzanines are reserved for nonresidential uses, work, retail, and storage. Public buildings (museum, thermes, schools, college for thirty-eight building crafts, college 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 city, each is organized by a central high street and a central square. In the West Mahale, the latter is formed by the bazaar and maidan. The three Mahale high streets combine to form a continuous urban loop. This page, above:, The ground of the island peaks at +20m elevation. The runway is at elevation +10m, allowing the urban loop-way to tunnel the vast structure at elevation +3m. 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 for marine architecture, astronomical and oceano- graphic research station, local government and administration, hotels, hospital, zurkhaneh, memorials, water towers, fountains) are designed as Landmark Buildings, adorning prominent locations, vistas, squares, gardens promontories. ! e walled horticultural and agricultural farms deliver the local market with fresh produce. ! e vast, vaulted 1000 x 80m undercroft of the airport runway is divided into three com- partments. ! e largest serves as a water cistern and is modeled on the monumental Kish or Constantinople cisterns. ! e smaller sections serve as dry storage, vehicle park and repair, and bomb shelter. ! e observatory mound holds a meteorolog- ical and astronomical observation station, seminar rooms, and scientist residences. Hotels are located along the ocean promenades and parkways. Park promenades and small white sand beach- es encircle the island on all sides. LÉON KRIER is an architect and urbanist, and inaugural winner of the Richard H. Driehaus Prize. He is the author of The Architecture of Community (Island Press, 2009). JAMSHID SEPEHRI is an architect and urbanist practic- ing in Washington, DC. 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 and scientist residences. This page, top: The arcaded Musalla of the Southwest Mahale is reached from the bazaar’s southwest gate, the northwest gate, and the east gate via the vaulted shopping gallery. The rectangular square is overshadowed by the dome and minaret of the bazaar’s masjid (mosque). Below: The bazaar southwest entrance. The bazaar buildings are iden- tified by the richly perforated white marble parapets which contrast with the colored glazed tilework of the monumental 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 PROJECTS LÉON KRIER AND JAMSHID SEPEHRI ANTA.ND.EDU