Social Healing : Incorporation of history & heritage by rana.maad

Social Healing : Incorporation of By Rana R. Maad

history and heritage

Social Healing Incorporation of history and heritage Rana R. Maad

Master of Design Thesis Interior Architecture Rhode Island School of Design by Rana R. Maad Copyright c. 2015 rana.maad@hotmail.com

Social Healing Incorporation of history and heritage A thesis submitted in partial fulfillment of the requirements for the degree Master of Design in Interior Studies [Adaaptive Reuse] in the Department of Interior Architecture of the Rhode Island School of Design By Rana R Maad 2015

Approved by Masterâ&#x20AC;&#x2122;s Examination Committee: ________________________ Liliane Wong, Professor, Head, Department of Interior Architecture, Thesis Chair ________________________ Jeffrey Katz Senior Critic, Department of Interior Architecture, Thesis Advisor ________________________ Rafael Luna Critic, Department of Interior Architecture, Thesis Advisor ________________________ Wolfgang Rudorf Critic, Department of Interior Architecture, Thesis Advisor

Nick Heywood Adjunct Faculty, Department of Interior Architecture, Adviser, Writing and Thesis Book Ben Cornelius Critic, Department of Interior Architecture, Consultant, Structural Engineering Stephen Turner Critic, Stephen Turner, Department of Interior Architecture, Consultant, Energy, Systems and Sustainability Andrรกs Riedlmayer Bibliographer in Islamic Art and Architecture, Harvard Fine Arts Library, External adviser

This book is dedicated to My wonderful husband Tarek Al Jazairy My amazing parents Rabih & Zeineb My favorite brothers Firas & Farouk and To all displaced nations worldwide, may they ever find their way home. In the loving memory of those who were killed in the Syrian Civil war and to those who are still fighting for their countries.

1. List of illustrations 2. Glossary of terms 3. Abstract 4. Thesis Context Displacement PTSD

6. Aleppo in History 7. Site - Matbakh Al Ajami 8. Thesis Concept 9. Program 10. Design Intervention 11. Case studies Al Nofara Cafe The Bakery Sufi music - El Hathra Karakoz

12. Epilogue 13. External Advisor 14. Annotated Bibliography

17 19 21 22 - 29 22 - 25 26 - 27 30 - 33 33 - 49 50 - 53 54 - 59 60 - 77 78 - 99 82 - 85 86 - 89 90 - 95 96 - 99 100-101 102 105 - 111

1. Artist : Ismail Al Shaykhly, Oil on Canvas. 2. Artist : Loay Kayyali, Charcoal 3. Artist: Monzer Charabay 4. Numbers of Syrian refugees in neighboring countries Courtesy of Mercy Crops 2014 5. Ratio of Syrian refugees to neighboring countries. Mercy Crops 2014 6. Artist : Loay Kayyali, Oil on Canvas, 172x190 cm, 1965 7. UNITAR Number of damages heritage locations. 2013 8. Map of Syria 9. Map of Aleppo 10. Aleppo, Crossroads . Aleppo: Rehabilitation of the old city 11. Historic map of Aleppo 12. Plan of Hellenic ruins in Aleppo markets 13. Front facade of Matbakh El Ajami 14. Old map of the walled city, Aleppo 15. Ruling period of Aleppo - Timeline diagram 16. Site plan 17. Traditional market, Textiles shops 18. Traditional market 19. Grand mosque of Aleppo 20. Street view overlooking the citadel from site 21. Khan Al Wazir 22. Citadel of Aleppo 23. Axial Symmetry layout 24. Qa’aa surrounded by four iwans. 25. Diagram showing before and after street expansion 26. The street view after the expansion and modifications 27. The street view after the expansion and modifications 28. Floor plan documentation courtesy of 29. Main hall elevation 30. Section Drawing courtesy of Yasser Tabbaa 31. Cross section drawings for the main hall 32. Site analysis diagram 33. Building analysis diagram 34. Building entrances 35. Existing circulation diagram 36. Main hall, central dome Muqarnas detail Constructions of Power & Piety in Medieval Aleppo by Yasser Tabbaa

37.Main hall interior 38.Ceiling and arch intricate detail photo 39. Interior photos for the main Qa’aa : image courtsey of Yasser Tabbaa 40. Interior photos for the main Qa’aa : image courtsey of Jean-Claude David 41. Damage documentation 42. Intervention timeline diagram 43. Narrative diagram 44. Relationship diagram 45. Healing mapping into actions and emotions Diagram 46. Program diagram 47. Program diagram 48. Program Diagram 49. Mapping zoning in the historical Neighborhood 50. Age structure breakdown according to Index Mundi 2014 51. Female to male ration according to Index Mundi 2014 52. Artist: Loay Kayyali 53. Artist: Abdel Mannan Shamma 54. Photos taken from the outside, Entrance(top), and terrace of the cafe. 55. Abu Shadi, the professional story-teller who entertains patrons at Al Nofara cafe for the past 75 years 56. Photo of the entrance and terrace of the cafe. 57. Image courtesy of Doug Kim 58. Image courtesy of Doug Kim 59. Image courtesy of Doug Kim 60. Artist: Zafar Shaikh 61. Hadra event, Carthage, Tunisia 62. Hadra, Artist: Lotfi Bouchank 63. Hadra, Artist: Fadhel Al Jaziri 64. Hadra, Carthage, Tunisia 65. Turkish Darvish 66. Ehyptian Darvish 67. Hacivat and karagoz, world heritage academy 68. Hacivat and karagoz 69. Shadow play in action 70. Shadow play puppets 71. Artist: Monzer Charabay

Ard Al-diyar Arghila

Courtyard Water pipe, hookah or hubble-bubble

Darvish Dihliz

Muslim mystic Entrance courtyard

Hakawati Hammam Hara Haramlik Hathra, El Hathra

Traditional Storyteller Bath, bathhouse Quarter Family section in the house Arabic - Tunisian for Sufi musical gathering

Iwan

Traditional indoor/outdoor room that faces into the courtyard And has no front wall

Karakoz Khan Muqarnas

Shadow-puppet play Caravanserai, trading place for Arab merchants “Stalactite” design in wood Reception room, hall

Qa’aa Salamlik Souk

Reception section of a house Traditional Market

(fig. 1)

Healing from displacement, loss of identity and broken heritage is a crucial concern that must be addressed in societies recovering from war trauma. Overcoming trauma is a difficult and a lengthy process that requires collaboration and patience among victims in order to create an environment that lends itself to healing. To provide a healing setting one must understand the impact of loss and psychological consequences that refugees experience through displacement. There is a need to commemorate the past as a way to overcome the intense pain of the present. Syria is a country of refugees, with a swiftly increasing dislocated population. These refugees struggle to preserve whatâ&#x20AC;&#x2122;s left of their identity, heritage and values, gathering pieces scattered among the remains of a historic country. This thesis addresses a healing space focusing on three main elements: society, culture and history. Additionally, this thesis proposes a place where people gather to reminisce and find relief through the incorporation of history and heritage found in a particular society. Utilizing forms of traditional entertainment in a common setting presents an opportunity for people to heal through restoring inner peace and reinforcing resilience by reconnecting with their prewar identity. Amidst the historical ruins in Aleppo, stands Matbakh Al Ajami, a 12th century palace. This historic building presents an ideal setting to provide social recovery and healing, marking a new beginning for a traumatized society to rebuild itself through collective memory and nostalgia. It is certainly possible to restore Aleppoâ&#x20AC;&#x2122;s historical monuments and acknowledge the integrity of both history and culture of Syria; this thesis seeks to suggest a paradigm where both the fabric of the city and its inhabitants heal together.

(fig. 2)

(fig. 3)

Displacement

Experience of a Refugee Displacement is the act of moving out of position or original state; usually displacement is associated with wars and post-war consequences. An IDP (internally displaced person) is a person who is forced to leave his or her home and seek shelter in the same location or the same country’s borders. 1 It is estimated that 70 to 80% of the IDP population in Syria consists of women and children. They are people immediately affected, experiencing loss of individuality and specifically cultural characteristics, personal and collective memories and past. They often become invisible, overshadowed by victims from natural disasters or other types of crisis around the world.

Displacement

1,175,504 LEBANON 832,508 TURKEY 613,252 JORDAN 215,369 IRAQ 139,090 EGYPT 23,367 NORTH AFRICA

IDP’s are ignored and mistreated in the process of addressing their identity in a community, who they are as individuals, what is it they need, want or look for or what has actually happened to them. What is particularly unfortunate for internally displaced victims who fled their homes from civil wars is the destruction of cultural heritage and history that forms a major part of both social and individual identity and pride. Let alone, the harsh circumstances the thousands had to go through in the process of fleeing, making their way on foot carrying children and pushing their elderly relatives along, anxiously for a shelter and better living conditions. Alongside the loss of cultural heritage, architecture and history, there is the critical situation of psychological wellbeing. Conflicts and wars have long-term effects on people and emotions, causing PTSD.

(fig. 4)

Before the civil war started in 2011, Syria was a home for over 22 million people. Today half of that population is forcefully displaced: nearly 3 million Syrians are living abroad and 6.5 million more are facing internal displacement, in which they were forced to leave their homes and seek shelter. 2 According to UN, the number of fatalities resulted from the conflict have reached 200,000 people and still counting, 18,000 people are still missing and 8,000 people have been detained. The UN also reports that the number of displaced people worldwide categorized as defined as refugees, asylum-seekers, and internally displaced people have exceeded 50 million for the first time since World War II. 3

832,508 TURKEY

1,175,504 LEBANON

215,369 IRAQ

1 in 5 people is a Syrian Refugee

The total number of Syria’s displaced people have reached 9,180,368 seeking asylum in neighboring countries and this number continues to increase. Lebanon, Turkey, Jordan, Iraq, Egypt and North Africa are countries that provided refuge. 139,090 EGYPT

613,252 JORDAN 1 in 13 people is a Syrian Refugee

(fig. 5)

1 Wikipedia: Internal Displacement 2 Friedman,Uri: Almost Half of Syria’s Population Has Been Uprooted 3 Fisher, Max. : More Syrians have died in 3 years of war than Americans inevery war since WW2

(fig. 6)

PTSD

Post traumatic-stress disorder is a term used to describe the psychological impact of war on people who have experienced traumatizing events. PTSD is also classified as anxiety; people who witness trauma become evasive to emotions, thoughts and conversations related to the specific stressor event, developing a reaction of amnesia about it. The event is apt to be recalled through details relating to the trauma, flashback and sometimes nightmares. The experience of PTSD can develop from witnessing death, major injuries or extreme threats that involve fear, horror and powerlessness. In any case, PTSD requires proper attention and therapy, based on the diagnosis and severity a condition may require. 4

Group Therapy Group therapy is proven to be effective based on the number of participants, setting and type of trauma. For persons suffering from PTSD, group therapy is encouraged for providing chances to develop and establish trust relationships and sense of safety that is often lost with the presence of PTSD. 5

4 Wikipedia: Posttraumatic stress disorder 5 What is PTSD: www.ptsd.ne.gov

PTSD

Cultural Group Therapy In a more specific situation, where trauma is an event that happens to a group of people, the therapy is still strongly associated with the culture of those people. Some societies accept and acknowledge psychological therapy more than others, while other societies may view it as a sign of madness and mental imbalance. In Syrian culture, the form of group therapy, the notion of solidarity and resilience are acts and concepts inserted in the society by nature, usually happening effortlessly and taking a spontaneous form. Examples of informal therapy occur in the everyday life amidst the old city in traditional markets, traditional cafes and bakery shops. One can only realize the therapeutic effect felt naturally from being in historically and culturally rich context after experiencing partial or complete loss of what came naturally in the past. In order to reinforce and restore the sense of mental equilibrium lost during traumatic events, aspects of cultural heritage, social values and commemoration are extremely essential for recovery.

PTSD, Memory and brain

Destroyed

Severe damage

Moderate damage

Possible damage

(fig. 7)

In recent studies, it is shown that victims of PTSD can be, not only mentally but also physically affected by the level of stress. A part of the brain involved in learning and memory is often affected, and in some people a case of PTSD can include fragmentation of memory, recall of unpleasant memories and flashbacks. In a relevant context of the intent of this thesis, is the ability to provide recovery for persons with PTSD through reworking and repairing the scarred memories that resulted from living through trauma. 6 What this information suggests is the healing capacity a heritage location can hold, incorporating historical, social and intellectual factors. Historical factors being the site or location, social factor being the community engagement and the intellectual factor being memory.

6 Warâ&#x20AC;&#x2122;s long-term effects: www.sciencemuseum.org.uk

City of Aleppo, Syria. Due to its strategic location and spatial organization, Aleppo has hosted Greek, Roman, Persian, Ayyubid, Mamluk, Ottoman and many other cultures. The dense fabric of Aleppo is visible if looking at an aerial view of the city. 7

Aleppo has a unique residential fabric that formed a strong influence on the overall structure of the city as many typologies are developed from introverted structures where streets only provided access and not a major role in the historic city. The Citadel is an iconic landmark of the city that contributes along with the walls and gates to the primary landmark of the historical quarter.

(fig. 9)

(fig. 8)

7 Busquets, Joan. edited, Aleppo: Rehabilitation of the Old City

(fig. 10)

Aleppo : Historical Context

Finally, the Souks found within the Hellenic vestige, which create an enormous network of alleys serving commerce activity by the use of Khans, Souks, and Hammams. Today, Aleppo must save the center of its heritage and historical neighborhood, and therefore shift its growth and concentration on the periphery in order to not disturb and transform the intricately dense existing fabric it has. In a city as old as Aleppo, inhabited constantly from the sixth millennium BCE, it is very likely easy to find traces of mixed cultures and many coexisting inhabitants. Interestingly, the city embraces a population of: Arabs, Kurds, Turks, Arminians, Bosnians, Albanians and Circassians. All of coexisting with different religions and beliefs varying from: Sunni Muslims, Christians, Armenian Catholics, Christian Syrians, Syrian Catholics, Maronites, Latins, Chaldeans, Orthodox, Melkite Greeks, Greek Orthodox and Jews, whom no longer reside in Aleppo.8

8 Birgid Keenan, Damascus: Hidden Treasures of the Old City

(fig. 11)

(fig. 12)

Site - Matbakh Al Ajami - Aleppo, Syria

History Matbakh Al Ajami, is a palace built in the 12th century owned by Majd Eddine Ibn Al Daya, the half brother of Nur Eddine Mahmud Zingi, Emir of Aleppo and a descent of the Zingids. 9 The building has witnessed and survived an interesting timeline and was used for different purposes by different owners. The Ajami palace has suffered greatly from the need to widen the Khan Al Wazir Street in the 1965, when the front facade was demolished. 10 The facade then was repointed and restored after the necessary work has been completed to the site.

(fig. 13)

(fig. 16)

Mamluks wall

Zingids 1128

Ayyubids

Mongols

1183

1260

Ayyubid wall

Mamluks 1300

(fig. 14)

Ottomans 1516 (fig. 15)

9 Al Matbakh Al Ajami : www.discover-syria.com 10 Youssef Nidal. â&#x20AC;&#x153;Al Matbakh Al Ajami wa baqaya Qasr Zinki fi Halabâ&#x20AC;?

Site - Matbakh Al Ajami

Context Matbakh Al Ajami is located at a walking distance from the Citadel, the traditional Souks, Khan Al Wazir and the Grand Mosque of Aleppo. The exterior view from Matbakh Al Ajami overlooks the citadel and Khan al Wazir. Itâ&#x20AC;&#x2122;s significant location on the side of the main street, and opposite from other historic sites forms a unique character and creates a meeting point for all four sites.

(fig. 18

(fig. 19)

(fig. 20)

(fig. 21)

Traditional Souk

(fig. 17)

(fig. 22)

Site - Matbakh Al Ajami

Modifications Architecture and layout Interestingly, the site went through a modification based on urban planning needs to expand the street for enhanced vehicular circulation. However, the modification resulted in the demolition of two rooms: the entry hall of the building and one iwan.14

“The Matbakh Al Ajami is considered the only example of palatial residences from medieval Aleppo, if not all Syria”.11 A Persian influence, the axial symmetry was used extensively in many residential and welfare buildings in Iran. This layout was exported to Syrian architecture mainly in palaces. Matbakh Al Ajami floor plan is centralized with a square shaped courtyard (9.70 by 9.90 meters) surrounded by the four iwans and covered by a dome, possibly the largest preserved dome from the Ayyubid period.12 “The central space can only be referred to as A qa’aa if its surrounded by at least two iwans. If the spaces is partially enclosed by one iwan it becomes just another room in the palace or house, but not a qa’aa”. 13

(fig. 23)

(fig. 25)

(fig. 24) (fig. 27)

11 Quoted by Moaz, Abdelrazzaq 12 Tabbaa, Yasser. Constructions of Power and Piety in Medieval Aleppo 13 Quoted by Moaz, Abdelrazzaq

(fig. 26)

14 Youssef, Nidal. “Al Matbakh Al Ajami wa baqaya Qasr Zinki fi Halab”

Site Documentation - Matbakh Al Ajami

Site - Matbakh Al Ajami

(fig. 30)Cross section

(fig. 28)Floor Plan

(fig. 29)Main Hall elevations

(fig. 31) Cross sections through main hall

Site Documentation - Matbakh Al Ajami

Site - Matbakh Al Ajami

Historic sites Sun path/ Noise

Public/private spaces

Courtyards

Main/ Secondary entrance

Public/Semi-Public

Sun path/ Noise

Courtyard/ Symmetry

Previous foot prints

Circulation main/ secondary

Main/ Secondary street

Landscape

(fig. 32)Site Analysis

Existing

(fig. 33)Building Analysis

Site - Matbakh Al Ajami

Entrance & Circulation

Interiors

Matbakh Al Ajami has two doors but today entered through one long vaulted passage that leads from the street to the northeast corner of the courtyard. 15 Both doors are made out of wood with elegant patterns and intricate wood inlay, marble inlay on door arch and stonework.

Due to its former function, the qa’aa contains sophisticated decorative elements to impress visitors. Starting from the entry to the entrance lobby, the central fountain, the double height space of the qa’aa to the dome, iwans and the selection of materials used throughout the space.

Salamlik

The middle iwan ( northern iwan ), is distinct from the two iwans on the sides with a unique arch design. The covered ceiling in the iwan area has remarkable muqarnas work carved in stone.

The main entry is located in the center of the front facade, leading visitors to the entry hall and immediately to the qa’aa. This entrance is designed for visitors use - public use and it is the entry to the Salamlik part of the house.

(fig. 34)

(fig. 36)

Muqarnas pattern continues to appear under the dome on the four corners of the qa’aa. Limestone, wood and marble are used to reflect the luxury and elegance on the interior and the exterior of Matbakh Al Ajami.

Haramlik

The second door, located also on the front facade of the building, is for the residents use, private use. The entry to the Haramlik part of the house goes around the qa’aa away from the center of the space, it goes through a hallway connected to another entry to the qa’aa and other to private rooms and service.

(fig. 37)

(fig. 35)

(fig. 38)

15 Al Matbakh Al Ajami : www.discover-syria.com

16 Al Matbakh Al Ajami : www.discover-syria.com 17 Youssef, Nidal. “Al Matbakh Al Ajami wa baqaya Qasr Zinki fi Halab”

Site - Matbakh Al Ajami

(fig. 39)

(fig. 40)

Existing condition

2012

2013

2014

2015

(fig. 41)

Dining Hall

Preservation work

Reception Hall

Storage for the National museum

Workshop for textiles

Preservation work

Folklore Museum

Restaurant 2010

1988

1950

Destroyed 2015

Palace 18th centuray

12th Completed centuray

Street Expansion Foot print modification

Preservation work

(fig. 42)

Thesis Concept

Peace

re u t

Loss

Displacement

Ruins

Hi Healing

Restoration

(fig. 43)

History

SOCIETY

In Diagram fig.41, The immediate relationship between healing, history and culture, is interrelated. In diagram 2. if the society element is absent, other elements will no longer be held bounded and safely in place. In Diagram 3. If the content is absent, the enclosure then will have no indication or guidance to form around, and then the core will become void and useless.

Healing

lture Cu

When talking about healing and recovery from a posttraumatic situation caused by war and displacement, one cannot deny the effect of this conflict on civilians. As explained in previous chapters, the issues of scarring, commemoration and loss of identity that occur in post-traumatic events necessitate the restoration of communities, and the reinforcement of culture. Society, history and culture, are the three elements that form a strong relationship to ensure the viability of healing. The absence of one element out of the three would result in the failure of the formulaâ&#x20AC;&#x2122;s effectiveness towards healing and recovery. Core, content and enclosure are the main ingredients that work collaboratively in order to span the healing process efficacy. In which core is healing, content is the history and culture, and society is the enclosure.

Conflict

ry & Cu o t l s

Concept

Healing

lture Cu

History

SOCIETY

Healing

(fig. 44)

Thesis Concept

Food

Connection

Thesis Concept

Nature

Join

Continuity Weave Comfortable

Joy

Time

Collect Join Light

Trust

Music

Support Encircle Continuity

Swirl

Lift Ethereal

Laughter

Faith Purity Lift Light Ethereal Transparency

Smile

Love

Sharing

Force

Prespective Encircle Beautiful Comfortable Transparency

Familiar Access

Lift

Energy

Intimacy

Flow Movement Light

Stability

Acceptance

Openness

Proximity Comfortable

Moving on Philanthropy

Familiar Cover Wrap

Familiar Flow Prespective Equilibrium Support

Hug

Spaceiousness Continuity

Familiar Spaceiousness Suspend Continuity

(fig. 45)

CORE . CONTENT . ENCLOSURE

SOCIETY

SITE

PR Healing

RA OG M

Healing

lture Cu

History

SOCIETY

Intention of the program

SOCIETY . INTERVENTION. HEALING

(fig. 46)

Program To articulate a program that reflects the mechanism of healing in a traumatized community, it only makes sense to use a building with a prominent intervention. The intervention itself could be a suitable apparatus to achieve healing and restoration. In diagram 1. The idea of the concept and abstract program are compared to establish a connection. In order to heal the society, an intervention on the site and the creation of a new program form a solid basis for healing center.

The program aims to combine historical and cultural aspects together to create a healing environment to reinforce society resilience and strength. Equally, the intervention is made to rejuvenate and preserve historical ruins that form an essential element towards healing, along with the site selection and setting that form the other element in the recovery process. Throughout the program, nostalgia, recognition of the past and commemoration will be present, not only to mark a new beginning towards recovery but to also contribute to an understanding of the passage of time.

Program

Beliefs & behavior

SOCIETY Past events & narrative

History

OGRAM PR

Healing

lture Cu

- Architecture - Typology

SITE

-Traditional Cafe -Bakery -Form of entertainment

-Story telling -Shadow play -Sufi Enchantment

Country & people

Tradition & Objects (fig. 47)

Program As stated earlier, the program is generated from both historical and cultural qualities, and aspires to redefine history through architecture and typology with heritage and tradition. Matbakh Al Ajami will be used as a host structure to function as a traditional café and a bakery that host forms of traditional entertainment such as: Al Hakawati, Karakoz and Sufi Enchantment.

Drink/ Eat

Commerce

Watch

Cafe

Bread. In almost all nations, baking or bread is associated with necessity, affordability, and generally basic needs. In a post-traumatic situation and societies, bread and bakery are often referred to as survival food and often implies nutrition.

In Syrian culture, a local or traditional café is considered to be the only place that is never empty. Attracting locals of different ages, different education background and social statuses. The café, usually the gathering point for neighbors, new-comers to meet, mingle, chat, complain, drink tea or coffee and few decades ago to smoke Arghile. The café is associated with socializing, exchanging and discussing opinions and matters as well as leisure and entertainment.

Merging

Listen

(fig. 48)

Typology

The intermarriage of both programs will provide a solid and concise redefinition and understanding needed in addressing the important relationship and symbolic overlap of both bakery and café in relation to healing and recovery among historic ruins. 57

Zoning & demographics

Site justification The specificity of the program requires equivalent specificity of site. According to zoning in the historical city of Aleppo, the dense fabric and proximity create a perfect site and basis for the intent of social healing through cultural restoration. Located in the heart of the old city, Matbakh Al Ajami creates centrality and a dynamic anchoring point that makes an excellent site for social recovering and healing.

55-64: 4.8%

3.9% : 65 and above

15-24 years

20.2%

25-54 years

37.9% 37.9%

33.1%

Users justification

0-14 years

Souks

Storage, Parking

Religious spaces

Authorities, Health Services

Khans Caravanseries

Public Baths

Mass trading, whole sale market

Public schools

The program is intended for the users who form the biggest slot of the Syrian population, total of 17,951,639. In which 37% are 25-54, in which 47% are female and 53% are male. (fig ) This age group consists of people who have both interest and appreciating to for local entertainments and arts regardless of their education background and social status. Additionally, adults are the major group of the total population, therefore justifying the selection of a suitable age group. Matbakh Al Ajami

(fig. 50)

Female

47%

53%

Male

(fig. 49) (fig. 51

(fig. 52)

Floor Plan

This series of design interventions aim to create a healing environment without interfering with the existing structure of the building. The intent is rather foucusing on enclosure and insertion gestures to promote healing and delineate the unique characteristics of the building. Throughout the entire structure the floor levels were evened by inserting a ramp that accommodate users with special needs. Exposed roof in the main hall is enclosed by adding a glass box structure on top to preserve the remains of the dome.

12 13

Courtyard

7 +2

Shop

+1 +3

+2 0

Main Qaaâ&#x20AC;&#x2122;a

+1 +2

Exhibit Hall 0

1. Exhibit hall 2. Main hall 3. Iwan 4. Iwan 5. Performance stage 6. Local goods shop 7. Courtyard 8. Bakery seating 9. Bakery 10. Checkout 11. Kitchen & Storage 12. Staff Restrooms 13. Restroom

12 13

+1 +3

+2 0

+1 +2

The building is entered from a long hallway that raises the floor level on cortex steel ramps to create a unified floor level. The hallway functions as a small small-scale curated exhibition hall, it holds the work of local Artists from Aleppo providing a chance to sell their work. On the Left side showing in section (A), Paintings and photographs are suspended with cables through a hanging system that accommodates multiple sizes of work. On the right side of the wall the existing structure is used to have sliding panels that also carries local artist work. As the panels slide out they create geometry and redefine the space with floating planes along the hall.

Section A - A Scale to fit 64

12 13

+1 +3

+2 0

+1 +2

In the central space where the dome remnants reside in a bad condition, a glass box was added on top to enclose the exposed space and to preserve the remains of the dome structure. A Series of rings representing the damaged dome are suspended from the added glass box. Using the concept of a hug or an embrace the rings suspend down based on users interaction below the central area. When users occupy the central space the rings suspend down to impersonate a hug. The more users occupy the space the lower the rings suspend down. If the space was empty the rings retract back to a still dome commemorating the old dome.

wound

Seamed

Heals, perfectly

Heals, scarred

Wrapping & embracing

Section through Main Qaaâ&#x20AC;&#x2122;av A

Showing the suspension of rings based on peopleâ&#x20AC;&#x2122;s interaction. Scale to fit

12 13

+1 +3

+2 0

+1 +2

The shop is the little shop that sells high quality local goods carrying from soap, spices and silk scarves. The form of the displays is carried out from the rings, where some display rings are solid and some are divided into shelves based on directory variation and requirements. The rings are also suspended through cables and attached to a wooden frame that stretches to cover the full height of the walls.

Section B - B Scale to fit 68

The courtyard is covered to operate and accommodate activities all year. However, the irregular form of the courtyard requires a glass panels system that opens and close depending on weather and activity. The collapsing glass panels operate electronically to offer three settings for the space: open, half open and closed. Due to the topography and height of the area, the glass type is selected to provide maximum efficiency and moderate interior temperature. Translucent glass permits diffused day light into the space while covering the ceiling and keeping a certain degree of reflection onto the glass floor. The thick glass floor is raised 2 feet above existing floor to eliminate the use of stairs and create a unified floor level throughout the building. Below the walkable glass surface there is water pool that acts as a cooling system to adjust the temperature in hot weather. The water implies floating the glass floor and symbolizes a sealing barrier to the tears shed for killed, missed and detained victims of the Civil War.

Section C - C Scale to fit 70

The facade of Matbakh Al Ajami is lightly damaged compared to the massive destruction that took over almost entirely the main dome. The three holes occurring on the facade are covered using translucent concrete sealing the walls yet permitting light to the masonry interior. The see through insertion gesture acts like a treatment to a permanent wound that will heal leaving a scar. Qaâ&#x20AC;&#x2122;aa main dome, which suffered from the most damage, is braced repointed and sealed with a double glass box to enclose the open space and to preserve the remains of an iconic element of Matbakh Al Ajami. Keeping the clerestory windows open at the bottom of the dome base allows for ventilation through the main portion of the building. The glass box sits on tope of the octagon shaped base acting as an enclosure and memorializing the original dome.

Front facade - study model

Front elevation 72

The interior walls are carefully treated, repointed and mostly kept in their original state. The design intervention aims to heal, save and maintain a historic building with the lease amount of destroying further more. Suspension Insertion Levitation Minor mounting are the methods used to reflect a healing environment in a war torn area

Main Qaâ&#x20AC;&#x2122;aa - study model

The use of natural looking material that blend nicely with sandstone like: corten steel, mirrors, glass and suspension cables is apparent in the design. Creating a soft contrast gives the building back its spirit and additionally introducing a new spirit. In both iwans located in the main Qaâ&#x20AC;&#x2122;aa arch like mirror forms were mounted on the front wall to reflect different narratives. The reflections from the mirrors are different angles and moments of the new rings that commemorate the old dome as if resurrecting the dome again. An old memory in new story is told in every ring, connection, angle, suspension and reflection

Al Nofara Cafe, Damascus The Bakery, Cairo, Egypt

Sufi Music & Enchantment

(fig. 53)

Damascus, Syria

Al Nofara Cafe

Al Hakawati

Is a traditional cafe located at proximity of the Umayyad mosque in Damascus. It is the oldest cafe in Damascus filled with noise, chanter and music for the past 250 years. The cafe consists of a 60 m2 single space, occupied by 24 tables and an outdoor 30 m2 terrace that fits 12 tables located by the entrance of the cafe.

Al Hakawati is an Ottoman form of entertainment that was exported to Syrian cafes decades ago and became a traditional art and a part of history and culture. The concept of al Hakawati is not only a form of entertainment but also a social event that people anticipate and wait for. For a period that usually does not exceed two hours, the one-man performance consists of telling out stories of lovers, warriors and poetry through acting out scenes with minimal gestures. The storyteller is usually seated at an elevated chair to dominate the gathering and create a focal point for the audience, wearing a turban or a fez depending on the type of story.19

It is the perfect tourist attraction and stop for many visitors due to its proximity to the old neighborhood in Damascus and its famous traditional form of entertainment Al Hakawati , the story-teller. The practice of Al Hakawati dates back to the 12th century and developed as street art. However, later on it developed to be associated with cafes when drinking coffee became popular in the Ottoman era.. Nofara, is one of the rare cafes that still hosts events of story-telling. 18

No matter how full and noisy the cafe is, once the Hakawati begins to tell a story the room falls silent, and his voice fills the room. 20

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18 Al-Nofara, Oldest Cafe in Damascus: Social Media : Facebook

19 Roshak, Ahmad. “‫قشمد عقوم‬.” ‫قشمد عقوم‬ 20 Chaudhary, Suchitra. “ Hakawati: the ancient Arab art of storytelling”

Damascus, Syria

As a part of tradition and history, it is interesting how al Hakawati narrates stories using allegory, spectacles and folklore as tools to bring back the past. Transporting the audience back in time, he creates a tangible interaction and anticipation among listeners. Associated with metaphoric therapy, the form of narration can be understood and viewed as a form of therapy, in the way that al Hakawati resembles the mentor who tells excerpts of life lessons, wisdom and knowledge through stories. The experience can be associated with healing and restoration through the act of listening and visualizing, a mental journey to other times with disregard to the present.

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Cairo , Egypt

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This little old bakery is located deep inside a building in the neighborhoods of Cairo. It simply offers two services: baking in an old oven and selling bread on the streets.

In almost all bakeries, the heat and the smell are the most vivid sensations most people encounter and remember.

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Carthage, Tunisia

Sufi Enchantment Sufi Enchantment, or Hadra in Arabic means “presence”, is a collective Sufi ritual performance often held in celebrations and on Thursday evenings after the night prayer. It involves forms of rhythmic religious poetic chanting focusing on praise and supplication to God and the prophet, some regions like Egypt, Turkey and Iran engage dancing “whirling” in the performance. In conservative Sufi communities enchantment is performed excluding musical instruments with an exception for using Daf, framed drum only. This collective Sufi occasion can be held in public spaces, mosques and houses and usually is an open event for men, women, children and elderly. Hadra is also sought to bring inner peace, tranquility and comfort to viewers and hearers. 21

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21 Wikipedia : Hadra

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Istanbul, Turkey

Cairo, Egypt

Whirling Darvish The dance form of Whirling is commonly found in Turkey, Egypt and Iran and is a part of Sufi enchantment and or Sufi music. The whirling motion or the orbiting is believed to represent perfection in its continuous revolving as the Darvish spin. It is also thought to purify oneâ&#x20AC;&#x2122;s self from ego and worldly desires by listening to the music and spinning in infinite circles.22 The practice is performed in special custom often unified in colors including a vest, a whirling skirt and a tall hat. Darvish whirling has become a heritage icon for several countries and regions with slight differentiation in costume and setting.

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In Egypt, whirling performance is a little different from the one in Turkey. The performer wears a colorful costume with an extra skirt on his waist and another he carries while spinning. The colorful skirts blend to allow for more colors as they spin in non-stop circles. Also, a darvish in Egypt wears a cotton turban instead of a tall hat. The skirts vary in colors and usually become more colorful in holiday performances and other special occasions. 95

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Istanbul, Turkey

Damascus, Syria

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Karakoz is just another form of Al Hakawati, only much more sophisticated. It involves more characters in the story with different voices and tones. Shadow play is a very ancient art found in Turkey and therefore spread to the Levantine area. The puppets used for the play are usually made of camel or ox skin to look like humans, animals or object, these forms are then attached to thin rods and moved in front of a light source. The shadow casted from the puppets must happen on a cotton screen. “Karagoz and Hacivat” are the main characters of shadow play in Turkey.23

“ Karakoz wa Iwaz” are the Arabic version of the Turkish “Karagoz and Hacivat”. In Syria, the event of a shadow play takes place in traditional cafes where the main Karakozati (the person who performs the shadow play) and his assistants set the screen and prepare the puppets. Shadow play is a performance that brings the audience to interact with the characters, which gives the Karakozati the chance to improvise and twist the events of the story to create anticipation and surprise among the audience.

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(fig. 69) 23 Hacivat and Karagoz: www.wha.com.tr

This is a work of fiction inspired from a true story that only serves the purpose of consolidating the design intent and notion taken on this project. This story is driven by wishful thinking to become a part of a much-anticipated future. In 2016, the Syrian civil war has lasted for five years and resulted in a great number of fatalities and massive amount of destruction in almost all cities in Syria. Displaced Syrians have finally been granted permission to return and start their lives again amidst the ruins. A mix of emotions: hope, disappointment, and damage, yet hope remains. The sense of displacement and loss destroyed the balance and inner stability of most of the survivors surrounding them with horrors caused by the merciless war. In a scene of so little hope and so much disappointment, a dream of mended scars, recovered heritage, and rebuilt homes seems to be far, yet it is possible. Mere acts that signify life and reminisce are required for an effective therapy to post trauma brutality. The returning people of Aleppo are capable of healing through collaborative effort to build a membrane surrounding memories from the war and transform them into strengths instead. With a collective effort of a humanitarian approach, a society is capable of overcoming trauma through celebrating the normal acts of daily life. The ultimate goal is to move on with an increased height of social responsibility, solidarity and peace.

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Andras Riedlmayer A bibliographer, in charge of the Documentation Center of the Aga Khan Program for Islamic Architecture, at the Fine Arts Library, Harvard University. He has published articles dealing with Ottoman history, Islamic architecture, and the study of manuscript sources, in journals such as Muqarnas: An Annual of Islamic Art and Architecture, Art Libraries Journal, The Turkish Studies Association Bulletin, Middle East Studies Association Bulletin and Harvard Ukrainian Studies. His publications include the article titled “From The Ashes: The Past and Future of Bosnia’s Cultural Heritage” and “Do Victims Have Culture? Disaster, International Aid and the Loss of Agency”.

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Books

Damascus: Hidden treasures By Birgid Keenan Provides detailed description and excellent selection of photographs of Damascus remarkable architecture and interior details found in mosques, palaces and welfare buildings. This books gives thorough live examples of the fantastic elements of traditional Syrian architecture that are still present until today, varying from fountains, Mihrabs, niches, decorative tiles, ceiling, flooring, courtyards, halls and marvelous stone work. The elaborate elements found in Damascus interiors have been of a great influence to interiors in other parts of Syria, like Aleppo, yet they adopt different styles.

Mahmoud Hraytani, Awabid Suwayqat Ali fi Halab. This book provides detailed set of drawings for the host structure dated from the 1940â&#x20AC;&#x2122;s and documented by Jean Sauvaget. The book contains descriptive text of the site, structure and context.

Aleppo: Rehabilitation of the Old City edited by Joan Busquets Speaks about the rich dense and historical layers of Aleppo that has formed from and since many different cultures of Greeks, Romans, Ayyubid, Mamluks, ottomans that are still simultaneously visible in every building and courtyard that still exist.

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Books

Mohammad Gharipour, edited, The Bazaar in The Islamic City: Design, Culture and History This book, in many ways examines the impact of traditional markets and caravansaries on the development of Aleppo’s urban infrastructure, physical layout and architecture in general. (In chapter5 - The Continuity of Social Space) interestingly, the author based on the concept of Islamic Cities views the bazars as a symbol of tradition and an exploration of a social space. It surveys Khan Al Jumrok in specific to identify its centrality and periphery on both economic and political aspects due to its long accommodation for foreign trading.

Syria: Medieval Citadels Between East and West This book provides a collection of extensive work on citadels located in Syria and simultaneously talks about cultural and architectural background of each citadel. The second part of the book focuses on Ayyubid palaces in Aleppo and offers a great walk through description of ( qa’aas )halls functionality and significance in a palace enriched with detailed floor plan of the proposed site Matbakh Al Ajami. Additionally, contains a collection of photographs for two other qa’aa in Aleppo showcasing materiality and detailing.

Urban Form in the Arab World: Past and Present by Stefano Bianca. This book explores the formation of old cities in the Arab world and includes case studies including Aleppo and the the formation of its dense fabric, imapct and influence. The book has informative diagrams and graphics as well as floor plans and other drawings .

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Constructions of Power & Piety in Medieval Aleppo by Yasser Tabbaa This book talks about the vestige of Ayyubid palaces, provided with illustrations and analytical drawings. The book contained information and photographes of the host structure, Al Matbakh Al Ajami with some description on the architeture and elements used in the space.

Memory and Revitalization by Marian Esponda The article is about the intervention project in Sant Pere de Corbera church in Spain. The article is a thorough analysis of the type of intervention, the intent and the framework brought all together. Elborating on the concept of healing and freezing ruins to establish forms of recovery with retrospect to collective memory.

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Books

Websites & online articles

Birgid Keenan, Damascus: Hidden Treasures of the Old City (New York: Thames & Hudson Inc., 2000)

2. David, Jean, Awabid Suwayqat ‘Ali Fi Halab.Translated by Mahmoud Hraytani. Al-Tab’ah 1. ed. Halab: Shu’a’ LilNashr Wa-al-’Ulum, 2010. 3. Gaube, Heinz., and Eugen Wirth. Aleppo: Historische Und Geographische Beiträge Zur Baulichen Gestaltung, Zur Sozialen Organisation Und Zur Wirtschaftlichen Dynamik Einer Vorderasiatischen Fernhandelsmetropole. Wiesbaden: L. Reichert, 1984. 4. Heghnar Zeitlian Watenpaugh, The Image of An Ottoman City: Imperial Architecture and Urban Experiece in Aleppo in the 16th and 17th Centuries (Leiden, Netherlands: Koninklijke Brill NV, 2004) 5. Joan Busquets, edited, Aleppo: Rehabilitation of the Old City (Cambridge, Mass. : Harvard University Graduate School of Design, 2005 )

• “HACIVAT AND KARAGOZ.” WORLD HERITAGE ACADEMY. 2013. Accessed May 5, 2015. http://wha.com. tr/en/traditional_arts_of_turkey_9.php. • “Hadra.” Wikipedia. Accessed May 2, 2015. http://en.wikipedia.org/wiki/Hadra. • “Internally Displaced People.” UNHCR News. Accessed January 27, 2015. http://www.unhcr.org/ pages/49c3646c146.html. “Internally Displaced Person.” Wikipedia. Accessed January 27, 2015. http://en.wikipedia.org/wiki/Internally_ • displaced_person. • “Posttraumatic Stress Disorder.” Wikipedia. Accessed January 27, 2015. http://en.wikipedia.org/wiki/ Posttraumatic_stress_disorder. • Al Jazeera, “Humanitarian crisis in Syria”. Accessed January 27, 2015. http://america.aljazeera.com/articles/ multimedia/interactive-humanitariancrisisinsyria.html

6. Mohammad Gharipour, edited, The Bazaar in The Islamic City: Design, Culture and History (Cairo, The American University in Cairo Press, 2012)

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7. Stefano Bianca, edited, Syria: Medieval Citadels Between East and West (Italy: Umberto Allemandi &C. for The Aga Khan Trust for Culture ,2007)

• Chaudhary, Suchitra. “ Hakawati: the ancient Arab art of storytelling”. Gulfnews. Accessed January 27, 2015. http://gulfnews.com/life-style/culture/hakawati-the-ancient-arab-art-of-storytelling-1.712001

• Discover Syria. “Al Matbakh Al Ajami”. Accessed January 27, 2015. http://www.discover-syria.com/news/12078 set/?set=a.237987876257502.63901.206468229409467&type=1

Stefano Bianca, Urban Form in The Arab World: Past and Present (London: Thames & Hudson, 2000)

Carlo Scarpa. Museum Castelvecchio. Accessed January 26, 2015. http://www.carloscarpa.es/Castelvecchio.html

9. Tabbaa, Yasser. Constructions of Power and Piety in Medieval Aleppo. University Park: Pennsylvania State University Press, 1997. 10. Skira.

Arab Museum of Modern Art (Dawhah, Qatar), and Andrew Ellis. 2010. Sajjil: a century of modern art. Milano:

• Roshak, Ahmad. “‫قشمد عقوم‬.” ‫قشمد عقوم‬. September 23, 2011. Accessed May 3, 2015. http://www.esyria.sy/ edamascus/index.php?p=stories&category=community&filename=201109231730011. • Science museum. “Wars long-term effects”. Accessed January 27, 2015. http://www.sciencemuseum.org.uk/ broughttolife/themes/war/effects.aspx •

“Sufi Whirling.” Wikipedia. Accessed May 2, 2015.http://en.wikipedia.org/wiki/Sufi_whirling.

• “Whirling Dervishes, Cairo.” Virtual Tourist.com. October 24, 2013. Accessed May 6, 2015.http://www. virtualtourist.com/travel/Africa/Egypt/Muhafazat_al_Qahirah/Cairo-2008750/Things_To_Do-Cairo-Whirling_ Dervishes-BR-1.html.

Websites & online articles

• Facebook Inc. “Aleppo History’s Capital” Last modified August,21,2014. Accessed January 27,2015. https://www. facebook.com/Aleppo.History.1/posts/271199123075842 zation” Last modified January 10, 2014. Accessed January 27, 2015. https://www.facebook.com/media/

Journals , articles & blogs

Journals • Esponda, Mariana.”Memory and Revitalization”. Intar Adaptive Reuse Vol.4: 99- 107.

• Facebook Inc. “Syria Cradle of Civilization” Last modified January 10, 2014. Accessed January 27, 2015. https:// www.facebook.com/media/set/?set=a.237987876257502.63901.206468229409467&type=1

Articles • Riedlmayer, András, and Stephen Naron. “From Yizkor Books to Weblogs: Genocide, Grassroots Documentation, and New Technologies.” in Community Archives: The Shaping of Memory, ed. by Jeannette Bastian and Ben Alexander (London: Facet Publishing, 2009): 151-163.

• Friedman, Uri. “Almost Half of Syria’s Population Has Been Uprooted”. The Atlantic (2014) accessed Janury 27, 2015. http://www.theatlantic.com/international/archive/2014/08/half-of-syrias-population-is-displaced/379407/

• Riedlmayer, András, “From The Ashes: The Past and Future of Bosnia’s Cultural Heritage”. In Islam and Bosnia: Conflict Resolution and Foreign Policy in Multi-Ethnic States. Ed. Maya Shatzmiller (Montreal: Mcgill-Queens University Press, 2002),pp. 98-135.

• J. Douglas Bremner. “The Invisible Epidemic: Post-Traumatic Stress Disorder, Memory and the Brain”. Accessed January 27,2015. http://www.thedoctorwillseeyounow.com/content/stress/art1964.html • Reuters, “Death toll in Syria’s civil war above 150,000” Accessed January 27, 2015. http://www.reuters.com/article/2014/04/01/us-syria-crisis-toll-idUSBREA300YX20140401 • Science museum. “Wars long-term effects”. Accessed January 27, 2015. http://www.sciencemuseum.org.uk/ broughttolife/themes/war/effects.aspx • Youssef Nidal. “Al Matbakh Al Ajami wa baqaya Qasr Zinki fi Halab”. Accessed January 24,2015. http://www. esyria.sy/ealeppo/index.php?p=stories&category=ruins&filename=201007031435042

Blogs • Kim, Doug. “Egypt, Cairo | The Bakery.” Chasing Light RSS. April 22, 2011. Accessed April 28, 2015 • Sariram, Ali, Bearing witness: the destruction of the Old city of Aleppo, the second oldest city in the world, Part three continued. Posted April 18, 2013. Accessed January 27,2015. https://alisariram.wordpress.com/2013/04/18/ bearing-witness-the-destruction-of-the-old-city-of-aleppo-the-second-oldest-city-in-the-world-part-threecontinued/comment-page-1/#comment-1297

Interviews

Moaz, Abdelrazzak. Interview by Rana Maad. Informal skype interview. 20February 2015.