Palestine

 Bethlehem

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black-and-white print

Bethlehem, vue generale - Translated: Bethlehem, general view

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stereoscopic photograph

Bethlehem, Palestine

Located approximately in Bethlehem, the Church of the Nativity is built on what is believed to be the birthplace of Jesus. Originally constructed as a basilica in the 4th century, during the reign of Emperor Constantine I. The original church was largely destroyed in 529, and subsequently rebuilt by Emperor Justinian I.&nbsp;Since the 12th century, and possibly earlier, the church has been supported by monastic communities.&nbsp;Today monastic communities affiliated with the Greek Orthodox, Roman Catholic and Armenian Apostolic Church, each of which controls part of the physical structure.&nbsp;The church was added to the UNESCO list of World Heritage Sites in 2012.&nbsp; SOURCES:"Birthplace of Jesus: Church of the Nativity and the Pilgrimage Route, Bethlehem." UNESCO World Heritage Centre. Accessed December 18, 2015. <a href="https://perma.cc/6A47-2P9S" rel="noopener noreferrer" target="_blank">http://whc.unesco.org/en/list/1433</a>. Tucker, Abigail. "Endangered Site: Church of the Nativity, Bethlehem." Smithsonian Magazine. March 2009. Accessed December 18, 2015. http://www.smithsonianmag.com/travel/endangered-site-church-of-the-nativity-bethlehem-51647344/.

Church of the Nativity

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photographic print

Bethlehem

Soman 

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digital photograph

Bethlehem-street2.jpeg

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negative

Title: Air views of Palestine. Bethlehem and surroundings. Bethlehem. A general view overlooking the town southward along the distant Hebron Road

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glass plate negative

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Mendel John  Diness

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Bethlehem, Church of the Nativity

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black-and-while photograph

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American Colony (Jerusalem) 

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nitrate negatives

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albumen print

Champ de Booz, aux environs de Bethlehem

In 2004 the Ministry of Antiquities identified the landscape of Battir, a village about 7km southwest of the Old City of Jerusalem situated on the line dividing the West Bank from Israel, as a Palestinian cultural heritage site to be documented for a future inscription on the World Heritage List. The Conservation and Management Plan provides a framework for the protection and conservation of the area, a unique repository of ancient irrigation systems and agricultural terraces. The project has focused on landscape planning and cartography and involved the local community in several participatory actions; it has culminated in the physical rehabilitation of historic structures and led to the site being inscribed on the World Heritage in Danger list in 2014. Source: Aga Khan Trust for Culture

Battir Landscape Conservation & Management

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Exploring and promoting new forms of making based on Palestine’s rich but threatened heritage of both craft and industrial production, the Wonder Cabinet is a non-profit cultural and educational platform established and designed by local architects Elias and Yousef Anastas. Despite being known primarily for their work in stone, they here sought material anonymity by using a simple, rough-finished concrete grid frame. Glazed, extensively openable front and rear facades, along with a largely open-plan interior with just a few glass partitions, ensure transparency throughout and natural climate control through airflow. The focus is entirely on the making, as a means to support fulfilling livelihoods that sustain Palestinians’ presence here in the West Bank, and on the landscape setting.&nbsp;Nestled into a hillside at the edge of Bethlehem – a city that previously lacked any dedicated contemporary arts venue – the building looks out over the Al-Karkafeh Valley. Its views towards the Jordanian mountains on the horizon are interrupted by an Israeli settlement on a once-forested hilltop in the near distance.&nbsp;A giant mural by the artists Somnath Bhatt and Ayed Arafeh adorns its west elevation. The street facade gives access to the upper level, housing a café and a shop showcasing locally made products. Between the two, a diagonal void that cuts through and connects all three levels draws the gaze downwards, offering a sweeping perspective of the multiple activities taking place inside, and on to the valley beyond.&nbsp;The architects’ studio and several other open offices are also accommodated on the upper floor. The mezzanine below hosts a production area, artist workstations, a radio station, and a restaurant. The lower level mainly houses a performance and production space, with facilities for various craft activities, from wood- and metalworking to casting, textiles, and photography. An outdoor patio offers a relaxed spot for socialising or informal meetings.&nbsp;The only enclosed areas of the rear facade are the masonry-walled sound studio and the metal-fronted staircase bay, which has two conical protruding porthole windows. Crafted by Mohammad Husni, who specialises in steelwork for factory silos, these windows are angled to frame particular parts of the surrounding landscape. Furniture, lighting, and other details are likewise made by local artisans, including the prominent rooftop installation by Bishara al-Hadweh, of staggered stainless-steel letters spelling out “WONDER CABINET” that gently spin – weather-vane-like – on tailor-made ball-bearing mechanisms. Jury citation “Initiated by the architects to fill a gap in the cultural offerings for youth in the city, this project expands the agency of architects to the roles of client, designer, cultural practitioner, and activist. Designed as an open, flexible, and transparent beacon of cultural production and resilience in the Al-Karkafeh Valley, the spatial organisation of the building facilitates exchange, dialogue, and community-building. With a mixed programme of artists’ studios, production spaces, a radio station, a restaurant, and the architects’ offices spread over different platforms, the cross-sectional void traversing its three floors encourages physical and visual connections, both within the building and towards the surrounding landscape. Borrowing from the contemporary language of the concrete frame construction prevalent in Bethlehem and its environs, the project demonstrates that spatial complexity and richness can be achieved through the judicious application of standardised construction methods and minimal material use. The concrete grid becomes an inhabited infrastructure of cultural production as well as a domestic monument – anonymous in its expression and scale, yet monumental in its impact. The building manages to both blend in with the other buildings in the city through its architectural expression and stand out through its transparency as an open and welcoming gesture in the landscape. Its bare concrete frame is complemented by locally produced artisanal elements such as the spinning signage, portholes, and murals that celebrate contemporary Palestinian production. Firmly nestled within a deeply charged setting, the Wonder Cabinet offers new horizons: reintroducing making, music, wonder, and joy in the city. By imagining both the cultural institution and the physical structure that hosts it, the architects have created a building that transcends its immediate political context, providing a model for an architecture of connection that is rooted in contemporary expressions of national identity and asserts the importance of cultural production as a means of resistance.” Source: Aga Khan Trust for Culture

Wonder Cabinet

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The project initially worked on renovating the old structure of the historic ottoman castle. In the design of the additions and the new shell structure, the distinction between whats old and what’s new was apparent and fundamental. The castle will house a culture and heritage museum for Palestine.<div> </div><div>Source: Rula Yaghmour</div>

Murad Castle Museum Rehabilitation

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09-Castle Exterior Renovation and Additional Museum Shell

<div>The music conservatory includes administrative, educational and public facilities and serves about 190 students aged five years and above. The structure is arranged in two volumes organized around a rectangular central patio, a contemporary interpretation of a hosh or the exterior shared space that is an essential typology found in Palestinian houses. Here, the hosh is at the heart of the project, a public space flowing into the dense urban fabric. All volumes are built with local sur mai’n lime stone, in accordance with an old Ottoman building regulation, which has the effect of integrating the conservatory deeply within its surroundings. The public nature of the space is further emphasized through the use of large glazed façades.</div><div><hr></div><div>Source: Aga Khan Trust for Culture </div>

National Music Conservatory Edward Said

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<div>After the engagement of all the stakeholders and aligning their visions, an approach to the preservation of cultural heritage that encourages people to visit was undertaken at this historic site in Bethlehem instead of the original plan for an amusement park. The current state of the Ottoman Murad castle and the three historic pools was documented and local, traditional materials and techniques were used in their restoration and repair. A glass skin enfolds the five remaining rooms of the castle, covered by a copper/wooden roof. All additional work is light, transparent, can be easily differentiated and dismantled at any point. The cultural centre and the crafts centre were built away from the ruins, on land not covered with vegetation.</div><div><hr></div><div>Source: Aga Khan Trust for Culture</div>

Renovation of Solomon's Pool Historical Site

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IAA707839

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Bethlehem
Palestine

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Bethlehem

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