阿勒颇重建 阿勒颇老城区及周边区域实体虚空规划丨土耳其阿勒

Solid void plan for the old city of Aleppo and the surrounding area

Roughly halfway between the central market's main axis and the northern gate (Bab al-Nasr) of Aleppo's Old City, lies an important historical center of trade and crafts, which has long maintained a strong connection with the surrounding suburbs.

As trade evolved since the late nineteenth century, most of the Khans (caravanserais) transitioned into gathering centers for craftsmen and their workshops. However, due to the recent conflict, a large portion of the urban fabric in the southern part of the Bab al-Faraj axis suffered extensive destruction.

Axonometric view for the study area

The architecture can only remain vibrant if it engages with the spirit of the space for which it is created, as M. O. Ungers emphasizes regarding the integration into the genius loci. According to Ungers, architecture is seen as an engagement with tradition, historical values, and their evolution into a new artistic expression. The morphology of Aleppo's Old City has evolved over time, reaching its pre-war form through various epochs. Attempting an exact reconstruction risks losing the authenticity and aura associated with the place and time, as noted by W. Benjamin. Therefore, the proposal aims to preserve the characteristics of the genius loci without imposing a false truth.​​​​​​​

The analysis showcases the combination of geometric spaces along the Bab al-Faraj axis and labyrinthine spaces away from the axis. It also highlights the division of the summer and winter living areas in the residential houses.

In accordance with the basic principles of the spatial implications of society in the Arab Old City, as captured by S. Bianka, public space is separated from the main thoroughfares to differentiate it for specific uses and integrate it into corresponding public buildings. The land use pattern features shops along main axes, providing functional continuity between the central souqs and the gateway and serving as protective shields, concealing the adjacent residential quarters and keeping them free from unwanted intruders. By implementing this logic in the urban study, the area for public buildings extends along the Bab al-Faraj axis, while the residential area is behind these buildings.The houses closely knit together, form inward-oriented autonomous units which are protected against visual intrusion from the street or from neighboring buildings. The access from the public areas to residential quarters is tortuous and broken into successive hierarchical sections which herald increasing degrees of privacy.The proposal combines geometric and labyrinthine spaces, reflecting cosmic architecture in the Arab-Islamic city as viewed by Norbert-Schultz. Main public buildings align along the Bab al-Faraj axis in a rectangular grid, contrasting with labyrinthine residential quarters.

Masterplan of the study area

Solid void plan of the study area before the war illustrated on the left, while the proposal is on the right.

Axonometric view showcases the variations of the residential houses. A key aspect, as outlined by A. Russell, is the division into summer and winter living areas, with the courtyard serving as the focal point of the house and a necessary element for the development of all other spaces.​​​​​​​

Axonometric view of Khan Kourt Bek with the surrounding area.

Facade of the reconstructed main courtyard

A reinterpretation approach was chosen for the reconstruction of Khan Kourt Bek instead of an exact replication. The principle of visible supplementation, previously employed in the old Pinakothek by H. Dollgast, was applied. Historical construction principles were partially adopted in this design, with abstracted and more modest forms and materials. The historical volume of the Khan was expanded, preserving the arcade on the ground floor while filling the openings in the historic part of the upper floor with new brickwork components. These additional elements interlock with the historical parts, creating an interpretation that leaves a clear reminiscence of the facades of the main courtyard. This reconstructed building aims to preserve and continue the tradition of craftsmanship in the Old City, especially as this tradition was heavily affected during the war. Commercial activities on the ground floor were retained in the main courtyard, while the upper floor functions as spacious workshops for artisans. The reception courtyard leads to an event hall with exhibition spaces for artisanal products on the floor above.

Perspective for the reconstructed arcade

Groundfloor plan

Section through the courtyards

Perspectives for the main courtyard

The interior space becomes a manifestation of an ideal world - a paradise of white, green, and blue (representing pure light, vegetation, water) as described by Norbert-Schultz. The new part of the building is entirely constructed in masonry, employing a single-shell wall construction in a three-layer composite for public interior spaces and a two-layer composite for other interior spaces. Bricks on the exterior are combined with poroton bricks in the core of the wall. Within the masonry bond, every fourth layer of bricks penetrates deeper into the wall.

Facade cutout

Perspective for the vaulted hall

Perspective for the domed hall

Perspective for the dome