Bamiyan Cultural Center competition, Afghanisthan

competition entry:2015,The Islamic Republic of
Afghanistan,The Republic of
Korea,UNESCO

Expressing the cultural richness & archaeological marvel in terms of architectural expression that would in course promote the project as a platform of interaction ,art & cultural diversity   has been the critical understanding  of the project  .

when compared to the scale & expanse of the physical  & ethnic landscape , multiplicity & richness  -the project strategically intends in making a positive ambiance  by conceptually embracing them. The two juxtaposed axes embodies  the future  as peace  -while the terraced plaza with cascading water channels remind(mughal  gardens namely bagh e babur) the glorious  past.

As both the axes culminate to the central court overlooking  the final destination of the exhibition hall -a vantage point for viewing the Buddha cliffs & the bamiyan valley in a wider  panorama is created. The journey of the visitors intersects with the axis of the water body which coincides with the thought of reconciliation for harmony ,peace & tranquility. The water body acts also as a natural barrier demarcating the boundary of the site in the form of a kind of infinity  pool of water.

the entry to the site is very simple and straight forward inviting all to the openness & serenity of the bamiyan valley. The built form tends to curve in to the site  by accommodating the functions according to the terrain  & thus not obstructing vista.

The planning keeps the performance hall & the future extension on one side while steps, ramps & gardens cascade  down to the lower level of the terrain where the two axes intersect to be the exhibition hall which would stand as a landmark for the city as well as the container envisioned to have architectural features conforming to heritage & landscape  formations of the Buddha cliffs, inscribing the permanent gallery proper from both outside & within by means of light funnels & punctures emancipates the observer with bliss of solitude, peace & divinity irrespective of religion or ethnicity. Also the platonic  geometry of circle inscribing square is not dissimilar to Islamic planning, while the circle itself symbolizes infinity, circum ambulation of the Buddhist stupa etc.

The hollow elevated foundation is thought to be a radiant heating type heating system similar to taba khana of afghan household solution for keeping warm.