設(shè)計單位? 35-51 ARCHITECTURE office

項目地點? 伊朗阿爾達坎

建成時間? 2023年

建筑面積? 448平方米

攝影? Arash Akhtaran, Abbas Yaghooti, Hamid Abbasloo, Mohammad Reza Amouzad

本文英文原文由35-51 ARCHITECTURE office提供，由有方編譯。

伊朗文化中對逝者的尊重始終占據(jù)著特殊的位置。這種尊重體現(xiàn)在陵墓、紀念堂、地穴的建造上，以至于幾乎沒有一個地區(qū)、城市或村莊沒有修建這類建筑。這種對逝者的關(guān)注延續(xù)了近千年的墓葬建筑傳統(tǒng)，并在漫長的發(fā)展歷程中經(jīng)歷了多種形式與風(fēng)格的演變。

Respect for the dead has always held a special place in Iranian culture. This respect has manifested itself in the construction of tombs, mausoleums, and crypts in such a way that there is almost no region, city, or village where such structures have not been built. This attention to the deceased has preserved the tradition of building tombs with a history of nearly 1,000 years. This tradition has undergone various formal and stylistic transformations over its centuries-long history.

從伊歷四世紀的塔狀與穹頂式建筑，到伊歷十一世紀的亭閣式陵墓，從封閉的體量到與外部環(huán)境互動的空間，從紀念性墓葬到朝圣性墓葬，從個人陵墓到集體墓園，從簡約構(gòu)造到宏大精細的建筑，這一傳統(tǒng)始終在發(fā)展與變化中延續(xù)至今。

From the early examples of towers and domed buildings in the 4th century AH to pavilion-like tombs in the 11th century AH, from enclosed volumes to those interacting with the external environment, from commemorative to pilgrimage tombs, from individual graves to collective burial sites, and from simple structures to grand and detailed buildings—these are all part of this tradition.

Shafaq陵墓延續(xù)了這一歷史傳統(tǒng)，但并不只是重復(fù)過去。通過“陌生化”伊朗陵墓與朝圣建筑中的象征符號與概念，設(shè)計試圖以當(dāng)代表達回應(yīng)伊朗的歷史、文化與信仰。

The Shafaq Tomb continues this historical tradition but does not merely repeat the past. Instead, it seeks a contemporary expression of Iran’s history, culture, and beliefs. It pursues this goal by defamiliarizing the symbols and concepts of Iranian mausoleum-pilgrimage architecture.

例如，Shafaq陵墓將傳統(tǒng)高高在上的穹頂移至人的尺度，通過象征的手法使其更具親近性，同時使其更契合現(xiàn)代社會理念；同樣，傳統(tǒng)做法中位于穹頂下方的銘文，也從封閉空間中被釋放出來，以現(xiàn)代書法繪畫的形式呈現(xiàn)，形成一種歌頌自由的畫面。

For example, it removes the dome from its traditional, inaccessible position and places it at a human scale, symbolically democratizing it and aligning it with modern societal concepts. Similarly, the traditional inscription, typically located beneath the dome, is liberated from its confined space and redesigned as a modern calligraphic painting, transforming it into a canvas that celebrates freedom.

Shafaq陵墓在處理與環(huán)境的關(guān)系上也采取了類似的策略。它將一個私人紀念陵墓轉(zhuǎn)化為通往墓園的門戶，使之成為一個公共空間，模糊了紀念性與實用性建筑之間的界限。

The Shafaq Tomb takes the same approach in its relationship with its surroundings. By turning a private mausoleum into a gateway for entering the cemetery, it transfers the space into the public domain, blurring the line between a commemorative structure and a functional one.

此外，借鑒伊朗傳統(tǒng)地域建筑中被稱為Sabat的通道，它在阿爾達坎的沙漠城市中創(chuàng)造了一片遮陽空間，不僅為朝圣者與路人緩解酷熱，也成為適宜舉行宗教集會的場所。Shafaq陵墓由此成為介于私人紀念碑與公共空間之間的建筑。

Additionally, inspired by the covered passageways of traditional regional architecture, known as Sabats, it creates a covered space that not only reduces the desert heat in the city of Ardakan for pilgrims and passersby but also provides a suitable environment for religious gatherings. In this way, it lies in the intermediate space between a private monument and a public arena.

總之，Shafaq陵墓追求的是最大的包容性：它既重視個體也重視群體，既尊崇神圣也承認日常生活的意義，既承接傳統(tǒng)也追求現(xiàn)代。因此，它不僅延續(xù)了陵墓與朝圣空間的象征意義與功能特征，也轉(zhuǎn)化為屬于城市與民眾的空間。

In conclusion, the Shafaq Tomb seeks maximum inclusiveness. It values both the individual and the collective, respects the sacred while recognizing the significance of the ordinary and everyday, and embraces the past while striving for modernity. Thus, in addition to preserving the symbolic and functional aspects of mausoleum-pilgrimage structures, it transforms into a space for the city and its people.

設(shè)計圖紙 ▽

完整項目信息

Architecture Firm: 35-51 ARCHITECTURE office

Firm Location: Iran / Tehran

Lead Architects: Hamid Abbasloo, Abbas Yaghooti, Neda Adiban Rad

Design Team: Mohammad Reza Aghaie

Calligraphy Artist: Mohammad Reza Amouzad

Phase 2 & Construction Consultant: Javad Hadavandi

Structure: Majid Koolivand

Glaze Artist: Shirin Soroudi, Mehdi Rahimi

Mechanical: Hadi Salehi

Construction Manager: Naser Akbarzadeh

Construction Supervisor: Mostafa Jafari

Construction Collaborators: Mohammad Reza Khani, Hashem Rezaie, Mohammad Hafiz, Mehdi Masumi, Jalil Mohamadi, Reza Arabi

Photo: Arash Akhtaran, Abbas Yaghooti, Hamid Abbasloo, Mohammad Reza Amouzad

Design Year: 2014

Completion Year: 2023

Gross Built Area: 448 m2

Project location: Ardakan / Yazd / Iran

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