Ahmet Ersoy

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Morocco

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IHM0216

The Menara Gardens in Marrakech were constructed during the early years of the Almohad dynasty. In 1147, Almohad forces under Caliph 'Abd al-Mu'min (reg. 1130-1163) conquered the Almoravid capital of Marrakech. Between 1147 and his death in 1163, 'Abd al-Mu'min undertook several large building projects in the city, which became the capital of his empire. The Menara Gardens and its large central reservoir were built during this period to serve as both productive orchards and personal pleasure gardens for the caliph. The gardens were maintained during the centuries after Almohad rule by the Marinids and the Sa'did Sharifs, and a pavilion structure originally erected by the Sa'dis was rebuilt by 'Alawid Sharif Moulay Muhammad bin 'Abd al-Rahman (reg. 1859-1873) in the late nineteenth century. The Menara Gardens are approximately 720 meters wide east to west and 1.25 kilometers long north to south. The longitudinal axis of the gardens is rotated twenty-seven degrees counter-clockwise from the north-south meridian. While the gardens are within the city limits of present-day Marrakech, at the time of their construction they were located two kilometers outside of the city walls. To allow 'Abd al-Mu'min convenient access from his home inside the city walls, the garden gate was connected by a direct road to Bab al-Mahzan (1126-1147), the city gate that opened directly into the caliphal palace in the Medina. The Bab al-Mahzan, the road, and the Almohad palace to which it led were destroyed after the fall of the Almohad empire in the thirteenth century. Today the gardens are connected to the Médina by the Avenue de la Menara. The majority of the gardens are occupied by orchards of olive, cypress, and fruit trees. The trees in the orchards are planted on a ten-meter grid, imposing a strict regularity on the landscape. Pathways through the garden fit into the logic of the grid, as ten-meter wide dirt paths fit between rows of trees to divide the field into approximately twenty-five rectangular parcels of varying sizes and orientations. The main feature of the Menara Gardens is the large reservoir located in its center. The reservoir is 160 meters wide east to west and 195 meters long north to south, its long axis rotated from the north-south meridian to align with the grid of the gardens. In order to provide irrigation to the surrounding orchards without the need for constant pumping, the reservoir was constructed entirely above ground. A complex network of underground irrigation channels relies on gravity to drain water from the main reservoir through the channels and distribute it evenly through the gardens. The reservoir itself receives water through a series of subsurface irrigation channels that originates in an upland aquifer in the Atlas mountains. These long-distance gravity-flow channels are known variably as qanat or khettara, and they have been employed extensively in central and southern Morocco to create habitable oases in dry areas. The Marrakesh khettara were originally constructed by Almoravid Caliph 'Ali bin Yusuf (reg. 1107-1142) to irrigate the gardens of the Palmerie. The elevated reservoir is surrounded by a five meter wide terrace along its perimeter. Several narrow stairways, each 2.5 meters wide, are spaced at irregular intervals around the perimeter of the basin to provide access to the terrace from the ground level of the garden. The edge of the stone basin and terrace are extremely sober in their articulation, with clean rectangular forms and almost no ornamentation. The austerity of the architectural detailing reinforces the character of the Menara Gardens as a working landscape. The only exception to the strict geometric framework of the garden grid is the principal entry road, which leads from the main gate on the eastern edge of the garden to a handsome pavilion at the center of the south side of the Menara basin. The nineteen-meter-wide pedestrian path was constructed or reconstructed under the 'Alawid dynasty, centuries later than the other dirt paths between the trees. This walkway is paved with red concrete and tile, employing a large-scale repeating box pattern. Each module of the paving pattern is 12.5 meters long and 9.5 meters wide. The path is two modules wide, and thirty-three modules long, with a total length of 412 meters. The entry path terminates at the eastern edge of a small enclosed garden measuring thirty-eight meters wide east to west and fifty-two meters long north to south. This enclosure is aligned with the main grid of the gardens, and its north edge borders the south edge of the elevated reservoir, just slightly to the west of the basin's center. The small sub-garden, lushly planted with a wide variety of trees and flowering plants, functions as a physical and conceptual threshold between the city behind and the water beyond. Within the enclosure is a small square pavilion, Le Menzeh, measuring twelve meters to a side in plan. The two-story pavilion is approximately fourteen meters tall. A rectangular loggia measuring twelve meters wide and four meters long projects from the north elevation of the otherwise square structure. Three arched openings on the ground floor of the north elevation of the loggia lead to a platform raised approximately 0.5 meters above the main promenade around the reservoir. The second level and balcony are located approximately four meters above the ground level of the pavilion. Passage through the pavilion along its north-south axis allows entry to the raised basin terrace from the small garden enclosure to the south. The pavilion is decorated plainly, to match the simplicity of the rest of the architecture of the basin and gardens. The two-story pavilion was built in pisé, or rammed earth, with decorative brick quoins at the corners and cornices. The structure possesses the reddish hue characteristic of pisé work in Marrakesh, where the red dirt of the region colors many earthwork structures. The upper cornice directly below the roofline of the pavilion features bands of geometric tilework. The pyramidal roof is covered in green ceramic tiles, a roofing material typical among royal and institutional buildings in Marrakesh. While its proportions and composition are harmonious, the north elevation of the pavilion, including the loggia and balcony, is almost completely unadorned. Much more attention was paid to the decoration of the south elevation. The threshold on the south elevation of the pavilion is defined by a round arch in pisé that was subsequently painted to appear as if it were constructed of brick. The spandrel between the arch and a raised rectangular pisé enclosure is adorned with painted geometric motifs and Arabic inscriptions. Three rectangular windows on the upper part of the south elevation are similarly framed by raised pisé borders. These borders are painted with a series of Rub el Hizb, eight-pointed stars traditionally used as an ordering symbol in the Koran. The casement windows contain leaded glass panes in wood sashes, with operable wood shutters that open to the exterior. These wood shutters are painted in blue, green, white, and red tones with multicolored geometric motifs at their centers. Each of the three windows is capped by a simple, two-tiered rectangular cornice moulding and decorative pisé relief panels with concave-arc profiles. The interior of the structure features several examples of fine multicolored stucco work, primarily defining the undersides and spandrels of pointed-arched openings in the thick interior walls. The multicolored patterns of the sculpted stucco sharply contrast with the otherwise starkly white painted walls. The floors inside the pavilion are covered by large tiles in either monochrome or checkered patterns. A set of carved and painted ornamental wooden doors border the archway that provides access to the interior stairway leading to the balcony. It has been suggested that the name of the gardens derives from the pleasant pavilion structure, as "menara" can mean minaret or tower in Arabic. However, others argue that the name "menara" could have been associated with the gardens since the time of the Almohads, preceding the construction of the pavilion. The minaret referenced in the name may be instead the minaret of the Kutubiyya Mosque (1147-1162), a spectacular tower in the Médina which was also commissioned by 'Abd al-Mu'min. This theory is supported by the alignment of the Avenue de la Menara, the boulevard between the Médina and the gardens. This major road creates an axis between the Menara pavilion and the Kutubiyya minaret, and the entry road within the garden diverges from the established grid of the landscaping to reinforce this visual connection. Today the Menara Gardens are accessible to the public and they continue to serve as a relaxing and picturesque oasis outside of the crowded Médina. The Menara Gardens were listed as an UNESCO World Heritage Site in 1985, as a part of the Médina of Marrakesh. Sources: Bhachem-Benkirane, Narjess and Philippe Saharoff. 1990. Marrakech: Demeures et Jardins Secrets. Paris: ACR Edition, 24-26. Blair, Sheila S. and Jonathan M. Bloom. 1995. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 123. Bosworth, Clifford Edumund. 1996. The New Islamic Dynasties. New York: Columbia University Press, 41-42. Deverdun, Gaston. 1959-66. Marrakech, des origines à 1912. Repr., Casablanca: Editions Frontispice, 2004, 196-198. Dickie, James. 1968. "The Hispano-Arab Garden: Its Philosophy and Function." Bulletin of the School of Oriental and African Studies, University of London 31 (2): 237-248. Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218. Hillenbrand, Robert. 1999. Islamic Architecture. Edinburgh: Edinburgh University Press, 271-272. Lightfoot, Dale R. 1996. "Moroccan Khettara: Traditional Irrigation and Progressive Desiccation." Geoforum 27 (2): 261-273. Métalsi, Mohamed, Cécile Tréal, and Jean-Michel Ruiz. 2000. The Imperial Cities of Morocco. Paris: Terrail, 110-115. "Marrakesh" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href=" http://www.oxford-islamicart.com/entry?entry=t276.e568" target="_blank"> http://www.oxford-islamicart.com/entry?entry=t276.e568</a>.

Menara

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IHM0200

The Majorelle gardens are named for their creator, Jacques Majorelle (1886-1962), a French painter who resided in Marrakech from 1919 to 1962. Majorelle was the son of famed French cabinet maker Louis Majorelle (1859-1926), a craftsman in the French Art Nouveau movement whose woodwork explored the re-articulation of architectural structure through an organic language of stylized vegetal forms. His son, known for his vibrant and impressionistic paintings of Moroccan people, cities, and landscapes, purchased a palm grove in the El Hassania district of Marrakech in 1924 and built a private residence and garden. In 1931, at the suggestion of the architect Paul Sinoir, he constructed an atelier on the site to serve as a painting studio. Sinoir also designed the building. Immediately following the construction of the atelier, Majorelle transformed the palm grove into a botanical garden showcasing plants from around the world. He opened the gardens to the public in 1947, while still in residence at the site.&nbsp; The Majorelle Garden is located 850 meters to the west of the northern tip of the Marrakech Médina. The garden is accessed via a small street that runs along its eastern edge. This street originates 130 meters south of the garden at a T-junction with Avenue Yacoub el Mansour, between Boulevard Allal Al Fassi and Boulevard Prince Moulay Abdallah. The garden occupies a small square area within the city block that measures approximately 135 meters long on each side. The square parcel is rotated twenty-nine degrees counter-clockwise from the north-south meridian to align with the street that it borders to the east. Along the north, south, and west sides of its perimeter, the garden is surrounded by private residences. One of the homes bordering the gardens is the winter residence of prominent businessman Omar Ben Jelloun, an architectural landmark which features traditional Moroccan construction and decorative techniques in a contemporary plan. A dense fabric of mixed trees, flowers, and shrubs fills the majority of the site. Plantings in the botanical garden are classified into five categories: cacti, palms, bamboo, blooming potted plants, and aquatic plants. The plants are not isolated by type in orderly sub-gardens, as is the custom in traditional Islamic gardens; here all species are interspersed with one another in a picturesque, varied landscape. Specimens were imported from five continents to create a colorful, lush, and densely planted oasis. Several species of exotic birds frequent the garden due to the great variety of flowering plants. The atelier is located in the northeast corner of the site, near the public entrance to the garden. Its footprint is a square approximately 17 meters to a side, rotated such that the east elevation is parallel to the street that it faces. A series of porches and overhangs projected orthogonally from a cubic core articulate a rigidly geometric building form that is characteristic of 1930s French modernism. However, Islamic decorative elements such as carved wooden screens and geometric tile mosaics are incorporated to evoke Moroccan architectural traditions. Almost every exterior surface of the building is painted Majorelle blue, a stunning shade of cobalt blue that was patented by Jacques Majorelle after his extensive use of the color on the architectural elements of the site. Two linear pools create central axes within the dense planted landscape of the garden. Both pools are quite narrow, approximately two meters in width, and are edged by short walls painted Majorelle blue. The primary pool originates at the foot of the atelier and extends 45 meters towards the southwest. This pool terminates at a small stucco pavilion that is painted a bright mint green. Pale blue columns capped with white carved capitals stand next to large stucco corner pillars, together supporting a decorative white stucco entablature with geometric patterning and Islamic inscriptions. Bands of plain stucco painted red and green serve as a second cornice above the inscriptions. The square pavilion is covered by a pyramidal roof in green ceramic tile, a common roofing material for traditional buildings in Marrakech. The second pool is 35 meters long, and it is bisected by the first pool at a right angle, 18 meters southwest of the atelier. A small clearing and a stone fountain mark their crossing. Additional decorative pavilions are located at each end of the shorter channel. In 1962, Jacques Majorelle was the victim of a serious car accident, and he died while recuperating in France shortly thereafter. In the wake of his death, the garden remained open to the public but deteriorated physically without Majorelle present to supervise its operation. In 1980, Yves Saint Laurent and Pierre Bergé purchased the Majorelle Garden to ensure its continued operation as a public garden. The partners were frequent visitors to the gardens and together they restored the site to its original splendor. A Museum of Islamic Art was opened shortly there after, showcasing the personal art collections of Saint Laurent and Bergé One of the galleries displays a permanent exhibition of the paintings of Jacques Majorelle. After the death of Yves Saint Laurent in 2008, Pierre Bergé donated the property to the Fondation Pierre Bergé -Yves Saint Laurent, and in 2011 the <a target="_blank" href="http://archnet.org/sites/14899">Berber Museum</a> was opened in the studio of Jacques Majorelle. Sources: Blair, Sheila S. and Jonathan M. Bloom. 1995. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 123. Bosworth, Clifford Edumund. 1996. The New Islamic Dynasties. New York: Columbia University Press, 41-42. Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218. Hillenbrand, Robert. 1999. Islamic Architecture. Edinburgh: Edinburgh University Press, 271-272. Hunter-Stiebel, Penelope. 1979-1980. "The Decorative Arts of the Twentieth Century." The Metropolitan Museum of Art Bulletin New Series 37 (3: The Decorative Arts of the Twentieth Century): 9. Jardin Majorelle, Marrakech. "Berber Museum -
 Press Kit." News release, Marrakech, 2015. Fondation Jardin Majorelle. 
 "Jardin Majorelle." Jardin Majorelle. <a href="http://www.jardinmajorelle.com/fr/index.php?page=accueil" target="_blank"> http://www.jardinmajorelle.com/fr/index.php?page=accueil</a>. [Accessed April 25, 2010] "Marrakesh"
 The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M.
 Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove 
Encyclopedia of Islamic Art and Architecture: (e-reference edition). 
Oxford University Press. Massachusetts Institute of Technology (MIT). 25
 April 2010 <a href="http://www.oxford-islamicart.com/entry?entry=t276.e568" target="_blank"> http://www.oxford-islamicart.com/entry?entry=t276.e568</a>.Pickens, Samuel, Francoise Peuriot and Philippe Ploquin. 1995. Maroc: Les Cites Imperiales. Paris: ACR Edition, 160-161.

Majorelle Gardens

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color slide

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Sidi M'Cid Bridge

The Kasbah is a large palatial complex comprising multiple palaces, institutional buildings, extensive gardens, reservoirs, and a network of ramparts. The palace was constructed in the late seventeenth century under the close supervision of 'Alawid Sharif Moulay Ismail (reg. 1672-1727). A contemporary and admirer of French sovereign Louis XIV (reg. 1643-1715), Moulay Ismail was an absolute ruler obsessed with cultivating a personal building legacy. Immediately after assuming power in 1672, Moulay Ismail began the development of Mèknes into the new capital of the 'Alawi empire. Mèknes, at that time a modest city with a market-based economy, was not nearly as culturally or politically significant as the former regional capitals of Fez or Marrakech. However, Moulay Ismail elected to transform the neutral space of Mèknes into a new imperial city in order differentiate himself from his predecessors, and to consolidate political and military power at a distance from the cities that had once supported his opponents. As a result of Ismail's single-minded interest in developing the capital as a monument to himself, the Kasbah of Mèknes is more than four times larger than the medina of the city, even after continuing growth of the medina during Ismail's rule. Mèknes became the "Moroccan equivalent of Versailles" in little more than a decade. Construction on the royal city continued until Moulay Ismail's death in 1727. The royal city of Moulay Ismail is bounded by three sets of fortified perimeter walls, each nested inside the other. The outermost fortifications of the Kasbah, known as the "wall of the wealthy," are the best preserved of the fortifications. These massive defensive structures measure between nine and twelve meters in height, complete with bastions and elevated walkways shielded by stepped merlons. The overall area defined by the perimeter of the outer ramparts is approximately 3.5 kilometers wide east to west and 1.2 kilometers long north to south. The north-south axis of the Kasbah is rotated thirty degrees toward the east from the north-south meridian. Parts of the outer zone of the Kasbah have been filled with dense housing in the centuries since Moulay Ismail's rule, although roughly two-thirds of the land in the outer areas of the royal city is still used as gardens or recreational space. The core of the palatial complex is a smaller area bounded by another set of ramparts interior to the fortifications marking the outer boundaries of the Kasbah. In contrast to the outer ramparts, the inner rings of fortifications are simple in section and lack bastions or defensive merlons. The perimeter of the inner Kasbah is irregular in its articulation, but the footprint of the core can be roughly described as trapezoidal in shape. The inner Kasbah is nested in the northwest corner of the royal city, just slightly inside the north and west walls of the outer ramparts. The area defined by the innermost ramparts is approximately 1.2 kilometers wide east to west and between 0.5 and 1.1 kilometers long north to south. A smaller secondary projection of the plan of the central Kasbah, to the northwest of the primary inner area, is approximately ninety meters wide east to west and 0.5 kilometers long north to south. The southernmost ninety meters of the eastern edge of this smaller section is coincident with the northernmost ninety meters of the western edge of the main complex, creating a shear connection in plan between the two areas. Several monumental gates mark points of entry into the royal city. During Moulay Ismail's rule, the primary entrance to the Kasbah was the Bab al-Mansour. This gate features an unusual structural configuration, with arcaded bastions on each side of the central horse-shoe arched portal. The primary entrance to the palace today is the Bab al-Makhzan, or the "gate of the royal palace." The imperial city of Mèknes contained three distinct palace complexes within its bounding walls: Dar al-Kebira, Dar al-Madrasa, and Ksar al-Mhanncha. The first palace to be constructed, Dar al-Kebira was built in 1672 on the site of the ruined Almohad Kasbah. This now-ruined complex of around twenty separate palace structures, or ksour, was known collectively as the "Great House." The overall organization of the Dar al-Kebira was irregular due to the aggregative nature of its design. One particularly notable structure within the original palace was the Koubba al-Kayatin, a pavilion used for diplomatic receptions. The architecture of the Koubba al-Kayatin was distinct from the other ksour, which accommodated a variety of non-official programs. A second architectural feature of the Kebira palace was the Habs Qara, or the "Prison of the Christians," a large underground network of tunnels that held thousands of Christian prisoners whose labor contributed to the construction of the imperial city itself. The mausoleum of Moulay Ismail is also located within the Dar al-Kebira. Well-maintained during the centuries since Moulay Ismail's death, this structure contains the tombs of Moulay Ismail, his wife Lalla Khouata, and his descendants. Quoting the plan of the Tombs of the Sa'dian rulers in Marrakech, the mausoleum is a series of three linked funerary chambers, the large square central chamber being the home of the tomb of Moulay Ismail alone. The ceiling of the central chamber is supported by twelve columns delineating a gallery around the perimeter of the space. The decor of the interior of the mausoleum is much simpler than that of the Sa'dian rulers in Marrakech, featuring tile mosaic floors but otherwise unadorned walls and ceilings. Each of the three chambers is capped by a pyramidal roof of green ceramic tile, typical of Moroccan funerary architecture; the central pyramid, rising several meters above the two minor pyramids flanking it, is surmounted by a finial of four stacked copper spheres. The Dar al-Kebira was separated from the edge of the Médina by the Place al-Hedim during its original occupation. After centuries of decline following Moulay Ismail's rule, the ruins of the Dar al-Kebira were absorbed into the medina. The complex is now a field of temporary residences of low-income residents. Little of the original architecture remains, though the excellently preserved mausoleum is a notable exception. The second palace of Moulay Ismail was also ruined during the centuries since its construction. This palace, known as the Dar al-Madrasa, was located south of the Dar al-Kebira. It was located within the walled perimeter of the Kasbah and bounded by one of the interior rings of pisé ramparts. The Dar al-Madrasa included a series of freestanding buildings organized around patios and gardens, including housing pavilions for Moulay Ismail, his wives, and mistresses; a belvedere; hammams; kitchens; and a prayer room and minaret. The third palace, the Ksar al-Mhanncha, is unique in that it features a regular organization in plan, as opposed to the asymmetrical, organic, and aggregative logic of the plans of the other two palaces. The Ksar al-Mhanncha was bounded by the second interior ring of pisé ramparts within the bounds of the Kasbah. A network of walls and elevated walkways interior to these ramparts further subdivides the palace into eight rectangular sections, aligned in two parallel rows of four parcels. The Bab al-Makhzen serves as the main entrance to the palace, opening onto a large courtyard. The courtyard is edged by porticoes, and the mosque of Moulay Sliman (reg. 1792-1822) anchors the end of the space opposite the entry gate. The center of the courtyard is the stage for two small pavilions: a treasury building and a menagerie known as "the Lion House," or Duwayriyat al-Sbaa. Winding paths that lead from this entry court to the main courtyards of the palace led this complex to be known as the "Palace of the Maze." Between the Dar al-Madrasa and Ksar al-Mhanncha lies the Gharsat al-Rukhum, a large Andalusian garden. Termed the "Marble Garden," this large productive landscape was irrigated by the enormous Agdal reservoir at its center, which also provided irrigation to the rest of Meknès. The royal city of Meknès was lavishly decorated and extremely expensive to construct. Though Moulay Ismail invested much of his significant personal wealth in the construction of the Kasbah, he also used his power as sovereign to plunder materials from the architectural masterpieces of the former capital cities. He obtained many of the materials needed for the ornamentation of the Meknès palaces from the Badi' Palace (1578-1594) in Marrakech. That architectural masterpiece had been constructed by Sa'did Sharif Ahmad al-Mansur (reg. 1578-1603) only a century earlier. However, Moulay Ismail's absolute rule was only strengthened by the destruction of the achievements of his predecessors, and consequently the 'Badi palace was mined for its exquisite artworks and rich materials throughout a ten-year period. Materials that came to decorate the interiors of the royal palaces of Moulay Ismail include exotic woods, Carrera marbles, onyx, ivory, gold-leaf, green ceramic roof tiles, and fine zellige, geometrically-patterned tile mosaics. The palaces of Moulay Ismail, like the 'Badi palace before them, were widely famed for their opulence. Contemporaries remarked that the only other royal residence that rivaled the Meknès complex in terms of richness and scale was Louis XIV's legendary palace at Versailles (1661-1710), which was under construction during the same period. Sadly, in spite of the vast quantities of time, labor, and resources that Moulay Ismail invested in his palaces in Meknès, he was the only sovereign to occupy the complex in an intact state. After Moulay Ismail's reign ended with his death in 1727, the royal city was immediately abandoned by his predecessors. The Dar al-Makhzen, a residential pavilion within the grounds of the Ksar al-Mhanncha, has been continuously maintained for use by the 'Alawid royal family when they are in residence in the city. However, Meknès has not been the principal Moroccan capital city since its years of prestige and development under Ismail's rule. Sources: Blair, Sheila S. and Jonathan M. Bloom. The Art and Architecture of Islam 1250-1800. New Haven: Yale University Press, 1995. 123. Bosworth, Clifford Edumund. The New Islamic Dynasties. New York: Columbia University Press, 1996. 41-42. Deverdun, Gaston. 1959-66. Marrakech, des origines à 1912. Repr., Casablanca: Editions Frontispice, 2004, 469, 471-474. Grube, Ernst J., James Dickie, Oleg Grabar, Eleanor Sims, Ronald Lewcock, Dalu Jones, and Guy T. Petherbridge, ed. George Michell. 1978. Architecture of the Islamic World. Repr., London: Thames and Hudson, 1996, 218. Hillenbrand, Robert. Islamic Architecture. Edinburgh: Edinburgh University Press, 1999. 271-272. Mercer, Patricia. "Palace and Jihad in the Early 'Alawi State in Morocco." The Journal of African History 18 (4): 1977. 531-553. Métalsi, Mohamed, Cécile Tréal, and Jean-Michel Ruiz. The Imperial Cities of Morocco. Paris: Terrail, 121-127, 2000. 146-153. Pickens, Samuel, Francoise Peuriot and Philippe Ploquin. Maroc: Les Cites Imperiales. Paris: ACR Edition, 1995. 188-212. "'Alawi" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href="http://www.oxford-islamicart.com/entry?entry=t276.e51" target="_blank">http://www.oxford-islamicart.com/entry?entry=t276.e51</a>. "Architecture" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href="http://www.oxford-islamicart.com/entry?entry=t276.e89" target="_blank">http://www.oxford-islamicart.com/entry?entry=t276.e89</a>. "Meknès" The Grove Encyclopedia of Islamic Art and Architecture. Ed. Jonathan M. Bloom and Sheila S. Blair. © Oxford University Press 2010. The Grove Encyclopedia of Islamic Art and Architecture: (e-reference edition). Oxford University Press. Massachusetts Institute of Technology (MIT). 8 February 2010 <a href="http://www.oxford-islamicart.com/entry?entry=t276.e591" target="_blank">http://www.oxford-islamicart.com/entry?entry=t276.e591</a>. Museum With No Frontiers, s.v. "Mulay Isma'il Mausoleum" (by Kamal Lakhdar, ed. Margot Cortez). © Museum With No Frontiers 2004-2010. <a href="http://www.discoverislamicart.org/database_item.php?id=monument;ISL;ma;Mon01;35;en" target="_blank">http://www.discoverislamicart.org/database_item.php?id=monument;ISL;ma;Mon01;35;en</a>. [Accessed 8 February 2010] Museum With No Frontiers, s.v. "Palace of Mulay Isma'il" (by Kamal Lakhdar, ed. Margot Cortez). © Museum With No Frontiers 2004-2010. <a href="http://www.discoverislamicart.org/database_item.php?id=monument;ISL;ma;Mon01;16;en" target="_blank">http://www.discoverislamicart.org/database_item.php?id=monument;ISL;ma;Mon01;16;en</a>. [Accessed 8 February 2010]

Qasba Mulay Ismaïl

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IHM0059

The decision to open a new branch in the Ville Nouvelle was made in 1927. Constructed started in 1928, and the new branch opened in 1931.

Bank al-Maghrib, Agence de Fès

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IHM0060

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IHM0217

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IHM0220

<blockquote>Key dates: 1147 (Almohad foundation), 1545–55 (construction of Saadian pavilion), 1869 (Alaouite renovation of Saadian pavilion)</blockquote>&nbsp;<blockquote>The Menara garden, located to the west of the Marrakesh medina, was built in 1147 by the Almohad caliph <a href="https://www.archnet.org/authorities/2633" rel="noopener noreferrer" target="_blank">ʿAbd al-Muʾmin</a> upon his conquest of the city. It was part of an extensive building program in the early days of his reign, which also saw the laying out of the larger Agdal Garden to the south of the city, as well as the irrigation systems that fed them both (see Hydraulics). Though no references to this complex are found in contemporary sources, the present name of the garden likely comes from its proximity to the Almohad dynasty’s <a href="https://www.archnet.org/sites/1741" rel="noopener noreferrer" target="_blank">Kutubiyya mosque</a>, which boasted a monumental minaret (mināra in Arabic) that could be seen from within the garden precinct. A road leading from the center of the garden toward the city creates a direct axis with the Kutubiyya, further emphasizing this connection.</blockquote><blockquote>The complex measures 720 m wide, east to west, by 1250 m long, north to south, and originally lay about 2 km outside the medieval city walls. The road connecting the garden to the city arrived at the Bāb al-Makhzen, the gate leading to the Almohad palace, which suggests that the garden primarily served as a private garden for the ruler. Though built along a similar plan as the Agdal, following a gridded pattern of olive, cypress, and fruit groves, the Menara garden also had a smaller enclosure for flowering shrubs and plants. This garden within a garden, measuring 38 m by 52 m, was located along the southern edge of the garden’s reservoir.</blockquote><blockquote>The chief feature of the garden, the reservoir (ṣahrīj) measures 158 m by 195 m and holds approximately 61,620 m3 of water. It is aligned within the grid of the garden plan. The large pool is engineered to water the surrounding plants, having been built entirely above ground to take advantage of gravitational flow and avoid the need for a pumping mechanism. The pool is surrounded by a 5 m wide walkway that runs along the perimeter and is reached by a number of stairwells that provide access from the garden.</blockquote><blockquote>Under the Saadian dynasty in the mid-sixteenth century, the Menara garden was renovated with a new pavilion built within the smaller garden enclosure. Measuring 12 m by 12 m, the two-story building features a rectangular loggia on the northern façade, overlooking the reservoir, and was built out of local pisé (mud brick) with a green ceramic-tiled roof. Additionally, archaeological excavation has found evidence of numerous villas surrounding the garden dating to the Saadian period. The pavilion was renovated in the nineteenth century under the Alaouite dynasty, but under the French Protectorate in the twentieth century, the garden lost roughly one-sixth of its area to make room for the new airport and landing fields.</blockquote> <blockquote>Sources: Travel Account, 12th c. (the anonymous “Kitāb al-Istibṣār fī ʿajāʾib al-amṣār”) | Archaeological Analysis, 2012 archaeological excavation (CSIC and LAAC)</blockquote> -<a href="https://www.archnet.org/authorities/9988" rel="noopener noreferrer" target="_blank">Abbey Stockstill</a> Resources:Marrakech, des origines à 1912&nbsp;<a href="https://www.zotero.org/groups/4419435/items/I445GB58" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a>Marrakech: demeures et jardins secrets&nbsp;<a href="https://www.zotero.org/groups/4419435/items/RTMP96R7" rel="noopener noreferrer" target="_blank">(Open in Zotero)</a> Originally published at: Stockstill, Abbey. “Menara Garden.” Middle East Garden Traditions. Dumbarton Oaks, November 18, 2014. https://www.doaks.org/resources/middle-east-garden-traditions/catalogue#b_start=0&amp;c6=North+African+Gardens. Archived at:&nbsp;https://perma.cc/EYG3-A8TV

Menara Garden (MEGT)

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IHM0218

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IHM0219

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Ahmet Ersoy

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Ahmet Ersoy

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