مسابقهای بینالمللی برای طراحی موزه ملی افغانستان برگزار شد و طبعا از طرف استودیوهای معماری نقاط مختلف جهان طرحهایی اراپه شد. طرح زیر طرح استودیوی ماتیو کینر، یک استودیوی فرانسوی-انگلیسیه که برای مسابقه ارائه شده. طرح عبارته از تودهای سنگین آمیختهای از فضاهای پر و خالی که به صورت نیمه در خاک فرورفته و با چرخشی معنادار تداعی کننده یک میراث بزرگ نهان در دل خاکه..... اگرچه به لحاظ نگاه طراحانه معماری از برخی گوشه های این طرح به خصوص از طراحی فضای داخلیش خوشم اومده اما دو نکته رو پیرامونش باید بگم.
اول این که وقتی ملتی خودشون برای خودشون طراحی نکنن و کار رو به بیگانه بسپرن لاجرم باید قبول کنن نگاه از خارج به خودشون رو. باید بپذیرن که به جای ملتی فعال و رو به جلو، میراثی باستانی هستند در دل خاک و ساکن و مناسب برای غبطه خوردن. برخی بیانها هرچند با احترام گفته بشن در خودشون حاوی مضامینی توهین آمیز هستند...
دوم این که برام جالب بود طراحان چنین اثری هم برای گول زدن سر کارفرما چه داستانها که نمیگن. گفتن میدان گاهی موزه ۵۶ مترمربعه که نشون دهنده اهمیت اعداد ۷ و ۸ در اسلامه !!! :) و بعد گفته که چرا که قرآن هفت آیه داره (منظورش سوره حمد بوده) و هشت گالری موزه هم تاکید بر عدد هشت! بازی با کلمات و اعداد و حروف .... چیزی که تنها از پس تفکر پسامدرنی برمیاد که بین حقیقت و مجاز هیچ تفاوتی قائل نیست.
through powerful symbolic references, the new proposal awakens the country's history, where physical fragments and traces inform users of the past. this concept is well illustrated in the ‘negative spaces’ of the artist and sculptor rachel whiteread that highlight the memory of an object, rendering the invisible visible through a reversal of solid and void. here this ‘absent presence’ is found in the day-lit foyer, a tranquil and serene space filled with water and greenery. entering the main hall, each visitor defines their own experience of the museum, ascending the monumental stairs from the foyer at its heart, aware of the depth of knowledge expressed in the deep recesses of its masonry walls.
entrance
if the façade acts as a reflection of our society today, then the monolithic walls embody our history and culture. as if hewn from solid stone, the galleries bring to mind the very origins of space and knowledge. each of the country’s eight significant historic periods is represented in a dedicated space designed to house representative artifacts. a perambulation through this sequence of spaces unfolds a voyage of learning and discovery. carved ramps and stairs overlook the foyer with the sequence of galleries unfolding in an intriguing and complex geometry.
the new museum’s 56 metre square cube represents the significance of 7 and 8 in islamic culture. there are seven verses in the koran, here representing rebirth, and eight principal galleries in the program, the indeterminate open sky acting as a metaphor for the future.
approaching museum
the site geometries and composition define the garden setting with a series of water features designed to refresh the air during the summer months. the orientation and planning of the museum introduces cool, shady areas for outdoor promenades, and the landscaping strategy enhances on-site bio-diversity and shaded meeting areas. the museum's gardens respond to the intense climate of kabul and include native grasses and indigenous plants. landscaping includes a stepped garden with covered seating areas and additional dedicated spaces for the museum's educational programs, including tours, garden lectures and outdoor performances.
birds eye view
a sustainable environmental concept determined the orientation, layout and design of the building envelope. the exposed concrete envelope introduces the required thermal mass, and the natural/displacement ventilation and highly efficient lighting systems reduces the overall energy consumption and provides a passive internal environment. above the main foyer, digitally controlled external sunshades respond to protect the interior from the intense solar gain, reducing cooling loads internally. the orientation and inclination of the building allows controlled daylight internally with the potential for solar harvesting technology and a renewable energy supply. internal heating and cooling is achieved through boreholes/earth tubes or crypt cooling, allowing air to circulate through large diameter underground pipes that discharge internal heat build-up via a stack. materials are generally specified to be sourced and fabricated locally.
main entrance
efficient use is made of the rainfall and humidity in the winter months. the soft landscape acts as a filter to collect and store rainwater for irrigation and grey water use and the fragmented form of the envelope acts as a natural purifier that provides potable water for the complex. a future extension to the museum is considered in the concept design and planning, so that additional storage areas and communicating spaces can be successfully added. an twinned volume extension to the existing building is envisaged, with visitors following a mirrored circulation route, descending through the galleries from above.
interior foyer
interior portal to foyer
the timeless cube embodies the strength, pride and traditions of the afghan people, providing visitors with better understanding of the country. the new landmark will be a stage for debate and reconciliation through an educational program that creatively engages people of all ages in traditional and non-traditional learning. the history, identity and traditions of its peoples will provide the bedrock for future generations to understand the culture of their forefathers and a unity in the region.
concept diagram
function diagram
access diagram
siteplan
section
project info:
credit: matteo cainer architects
location: kabul, afghanistan
client: islamic republic of afghanistan/ministry of information and culture
program: master planning, national museum complex
area: 4,25 hectars/ 17,126 sqm museum complex
status of project: competition entry