مختارات من عمارة العالم العربي 1914-2014 (ص 23)

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مختارات من عمارة العالم العربي 1914-2014 (ص 23)

المحتوى

‎prem peri)‏ كزين
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‎Arab Levant
‎Architecture in the Arab Levant
Dr. George Arbid
‎The Arab Levant or al-Mashreq is an area nowadays consisting of
Jordan, Lebanon, the Palestinian Territories and Syria. Around 1974, the
destiny of this particular region at the verge of the fall of the Ottoman
Empire was being shaped by two major facts: The Sykes-Picot agree-
ment of 1916 that divided the zones of influence between the British
and the French, and the no-less important Balfour declaration of i917
that prepared for the creation of Israel. in the aftermath of World
War One, Syria and Lebanon were placed under the French Mandate
starting 1920, while Jordan, which would be founded as a country in
1924, and Palestine, went under British rule.
‎The unfolding history took the four countries in political direc-
tions that molded their architecture in different ways. The Naqba in
Palestine with the creation of the state of Israel in 1948 on one hand,
and the difference in political regimes in the other countries, shaped
them differently.
‎Lebanon
‎Lebanon can be presented in summary as 2 synthesis of broad influ-
ences. Inacountry located at a crossroads, the multidirectional flows
of people, goods, ideas and cultural practices have naturally shaped
architecture and enriched it in many ways.
‎From traditional architecture to modern times, a common thread
exists; a constant will to assimilate and integrate the new whetherin
terms of constructional methods or cultural innovation. This desire
for modernity favored an architecture culture heavily characterized
by adaptability and resourcefulness, resulting in skillful craftsman-
ship and building competency.
‎In the early 20th century, pioneers of architecture included engi-
neers working for the Ottoman authorities, architects who came on
archeological missions during the Mandate and engineers educated in
Lebanon who pursued further studies or architectural training abroad.
Following Independence in 1943, and starting with the Académie
Libanaise des Beaux-Arts, various local schools of architecture, which
kept ties with foreign institutions, were created. Enriched by varied
experiences and openness to diverse sources, architecture in Lebanon
became multi-faceted. Over time, the best examples have proven to be
those that have appropriately responded to local living practices, both
indoors and outdoors, dealt with climatic conditions, and innovated in
response to aspirations for modernity. ١
‎Mandate Architecture of the 1920's and 1930's
‎During the French Mandate over Lebanon (1920 - 1943), a colonial
Orientalist style laced with Art Deco connotations was developed
by local engineers and architects, mainly in the Foch-Allenby dis-
trict in the center of Beirut. Standing strictly aligned, respectiul of
a determined height, coherent with arched galleries, these buildings
are built with well-crafted local yellow stone, stylish iron handrails
on cantilevered balconies. Among the important landmarks of
the period are the Municipality of Beirut by Youssef Aftimus, and the
House of Parliament by Mardiros Altounian. The competition forthe
National Museum of Antiquities of 1928 resulted in the attribution
of the project to a team composed of Pierre Leprince-Ringuet and
Antoine Nahas. The Art Déco building had better chances than the
two finalists consisting of neo-Beiteddine and neo-Persian proposals.
‎Pioneers of Modern Architecture and the 1940s
‎The Hotel St. Georges designed by French architects Poirrier, Lotte
& Bordes with local engineer-architect Antoine Tabet, is a pioneer-
ing structure of the time (1932). With its long spans, straightforward
layout, exposed concrete structure and filling, horizontal dominance
and sobriety, Hétel St. Georges soon became an icon.
‎Following the construction of the first cement factory in the coun-
try in 1931, the 1940’s were characterized by the transformation
of building techniques as stone gave way to concrete. The typical
central hall house with its triple arched openings underwent vari-
ous transformations, surviving until the late 1940's. While concrete
eventually replaced stone as the principal construction material,
‎the gradual process resulted ina rich period of coexistence and
witnessed a simplification of detailing. Richly textured finishes of
float-rendered or Tyrolean plastering replaced ornamentation.
‎1950's and 1960's
‎The 1950's and 60's correspond to the maturing of modern architec-
ture that slowly developed since the French Mandate. Once liberalism
and private enterprise were confirmed after Independence (1943),
the service sector developed rapidly, making Beirut a regional center
for trade, banking, advertising, air-sea-land transport, communica-
tion and tourism. Because of Lebanon's democratic regime, Beirut
attracted artists and intellectuals from the Arab world fostering
cultural exchange and the general cultural activity lent architecture
an impetus for exploration. During this booming period, a general
desire for modernity was found both in private and government-
sponsored buildings. .
‎Celebrating the onset of the 1950s and launching a success-
ful collaboration between a Polish architect and a Lebanese team,
the AUB Alumni Club by K. Schayer with B. Makdisi and W. Adib isa
straightforward functional building reminiscent of Schayer's earlier
work in Poland. With its syntax of richly textured intersecting planes,
its delicate cap and its L-shaped layout integrating the garden, the
Alumni Club was indeed a pioneer. Soon after, the team produced
many distinguished buildings on the Raouché Corniche, such as Hotel
Carlton, built between 1955 and 1957.
‎Collaboration between foreign and Lebanese professionals also
proved fruitful when American architect Edward 0, Stone designed
Hotel Phoenicia (1954-1961) with Ferdinand Dagher and Rodolphe
Elias. An elegant building that came to terms with the spirit of the time
as much as it was tailored to the place, the Phoenicia soon became an
icon of International Style architecture adapted to a Mediterranean
climate. Whether in circumstantial collaboration or in permanent
teams, local engineers and architects were more than merely sup-
portive staff for their foreign partners and contributed significantly to
the making of modern architecture. They were familiar with the admin-
istrative bodies, the networks of practice, expertise and the availability
of materials, and they were architects in their own right, generally
having run a practice before they teamed up with foreign architects.
The Holiday Inn Hotel (1965 - 1974) by Lebanese architect Maurice
Hindié with French architect André Wogenscky is another example
of such partnerships. Teaming up with local architects, French archi-
tect and planner Michel Ecochard contributed to the dissemination
of a local version of Modern architecture that he did not envisage in
opposition to tradition. As he would demonstrate in many buildings,
his embracing of Medern architecture was accompanied by a close
understanding of local conditions pertaining to materials, building
techniques, climatic response and last but not least, local practices.
Far from normalizing the cityscape, the response to climatic conditions
and orientation offered opportunities for a variety of creative designs
with distinctive skins, From the west-oriented protective claustra of
the Dar Assayad printing press by Schayer-Makdisi-Adib to the north-
oriented curtain wall of the Horseshoe Building by the same team,
rational choices prevailed.
‎Urban quality is found in such buildings as Centre Sabbag,
acommercial center, cinema and office building by Alfred Roth and
Alvar Aalto (1967 - 1970). The L-shaped building frees the street side
corner of the plot creating a piazza for pedestrian use. Like many
important operations, the project was carried out with a group of
Lebanese consultants, technicians and superintendents. The list of
successful examples of the period includes the Starco Center, by the
Swiss firm of Addor & Julliard between 1955 and 1961. It was a state
of the art commercial center and office building that recreated onthe
ground and mezzanine levels the atmosphere of the souks.
‎The prolific career of Joseph-Philippe Karam offers the most
exuberant designs, displaying an extensive use of color and a wide
array of finishing materials. In 1968, Karam designed the Samadi-
Salha City Center, a movie-theater recognizable with its concrete
eggshell. The well-executed surface of the cinema was made pos-
sible by well-trained carpenters who adapted their skills to become
concrete form-workers. Other elegant roofs are found in factories
sheds, namely the state-owned Tobacco factories such as the one by

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مختارات من عمارة العالم العربي 1914-2014

تاريخ

2014

المنشئ

جورج عربيد