explores the dichotomy between the solid, ageless construction of the existing
13th century Nasrid Tower, made by anonymous craftsmen, and the
provisional, light, degradable nature of the contemporary. The additions to the
original building are conceived as future ruins, removable, temporary objects
placed directly onto the ground without foundations and made with contrasting
materials. The restoration of the Tower itself involved the preservation of
original materials where possible, removing modern additions and resurfacing
the original mud wall and interior brick fabric. To restore the original entry
to the tower, four metres above ground level, a new pre-rusted steel staircase
tower and toilet and office container were built. The space was adapted for use
as an exhibition space but a range of events, including weddings, have taken
place. The landscaping of the area adjacent to the tower re-uses the existing
topography to minimise ground alteration. A careful, sensitive restoration
project has been undertaken which has restored the presence and meaning of the
historic Tower, while at the same time a modern design project produced which demonstrates
great flair and a sensitivity towards its built and natural environment. The
main achievement has been to transform a derelict building into a symbol of the
village and its past, and it has become a powerful tourist attraction.
Shortlisted Projects: Conservation in Architecture and Plurality. Edited by Mohsen Mostafavi. Zurich: Lars Muller Publishers, 2016.
This publication features the winners and shortlisted projects for the 13h cycle of the Aga Khan Award for Architecture.
This book brings together a diverse range of exemplary architectural projects from across the globe. Carefully selected and examined by a team of experts, these projects demonstrate innovative approaches that respond to the challenges and potentials of contemporary conditions and contexts.
One guiding principle of this 13th Cycle of the Aga Khan Award for Architecture is the importance of plurality. Since its inception the Award has aimed to be inclusive and to embrace the engagement of a diverse group of users. But equally, it has sought projects that explore a plurality of methods and architecture in achieving that goal.
Here, the authors of the essays use that productive tension between architecture and plurality not only to provide a framework for the examination of the projects but also to explore the intellectual and projective means by which architecture are plurality can find other common grounds in the future.