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The Poet’s House
The Poet’s House
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The Poet’s House
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“I was jolted awake last night and desired to write a poem; didn’t have a paper at hand, so I wrote it on the wall.”
This sentence is stated by “Ahmad Shamloo”, the contemporary, legendary, protest poet who in the modern era of Iran, has had tremendous impacts on various fields of literature, poetry, and the assessment of social-political narratives. A considerate poet, who with the absence of freedom of speech in each period, has opted for a creative and unconventional approach to express his ideas. Although this approach seemed coveted and liberating in public opinion, it was always outcasted and detained by the order of power and the commanding systems. Accordingly, even after his demise, despite the obstructions of the political officials constantly attempting to destroy his tombstone, which had been a refuge to the admirers of his views, his devotees still arranged the “Cultural Tour of Ahmad Shamloo” and followed his impressions in the city of Tehran.
The poet`s tour path starts from his birthplace in the old neighborhoods of Tehran; passing the Naderi Café – the haunt of contemporary intellectuals –, and continues to his former house in the cultural center of the city. A sound beautiful house, with a brick facade. Recently, some outward changes like the destruction of the windows caused concerns about the possibility of replacing this house with a new building. These worries made one of the admirers of Shamloo buy the property.
The new owner, in an attempt to support moral values and create a community center for the poet’s followers to interact, decided to keep the house and the original wall within, on which Shamloo, in his own handwriting, had written the poem “Ayda in the mirror”. The wall grew like a seed inside this building and left impressions on different parts; as if a living being had developed from within the property, and had become the origin of form creation, structure solution, and interior spatial division. This process has persisted in the exterior and besides solving the vertical circulation, extended to the urban facade to become an icon along the poet`s tour path.
In other words, the tour path enters the building from the sidewalk and moves through a stairway adjacent to the southern façade to the roof, which is used for performing theater, and screening movies. Next, following the footprint of the blossomed wall, with its rusty-red color being a symbol of the objecting poem, visitors are guided to the lower floors, where the galleries are located, and then to a café next to the library. Finally, the path returns to the ground-floor yard which has an immediate connection to the urban area; an inviting place for discussion, unwinding, and cultural interaction.
This project, with the idea of retaining the valuable existing building and blooming of the poet’s remains, has acquired a dual quality, which develops a powerful scenario of being Shamloo-related meanwhile providing a solution to the urban issue and the social layers associated with the design.
This sentence is stated by “Ahmad Shamloo”, the contemporary, legendary, protest poet who in the modern era of Iran, has had tremendous impacts on various fields of literature, poetry, and the assessment of social-political narratives. A considerate poet, who with the absence of freedom of speech in each period, has opted for a creative and unconventional approach to express his ideas. Although this approach seemed coveted and liberating in public opinion, it was always outcasted and detained by the order of power and the commanding systems. Accordingly, even after his demise, despite the obstructions of the political officials constantly attempting to destroy his tombstone, which had been a refuge to the admirers of his views, his devotees still arranged the “Cultural Tour of Ahmad Shamloo” and followed his impressions in the city of Tehran.
The poet`s tour path starts from his birthplace in the old neighborhoods of Tehran; passing the Naderi Café – the haunt of contemporary intellectuals –, and continues to his former house in the cultural center of the city. A sound beautiful house, with a brick facade. Recently, some outward changes like the destruction of the windows caused concerns about the possibility of replacing this house with a new building. These worries made one of the admirers of Shamloo buy the property.
The new owner, in an attempt to support moral values and create a community center for the poet’s followers to interact, decided to keep the house and the original wall within, on which Shamloo, in his own handwriting, had written the poem “Ayda in the mirror”. The wall grew like a seed inside this building and left impressions on different parts; as if a living being had developed from within the property, and had become the origin of form creation, structure solution, and interior spatial division. This process has persisted in the exterior and besides solving the vertical circulation, extended to the urban facade to become an icon along the poet`s tour path.
In other words, the tour path enters the building from the sidewalk and moves through a stairway adjacent to the southern façade to the roof, which is used for performing theater, and screening movies. Next, following the footprint of the blossomed wall, with its rusty-red color being a symbol of the objecting poem, visitors are guided to the lower floors, where the galleries are located, and then to a café next to the library. Finally, the path returns to the ground-floor yard which has an immediate connection to the urban area; an inviting place for discussion, unwinding, and cultural interaction.
This project, with the idea of retaining the valuable existing building and blooming of the poet’s remains, has acquired a dual quality, which develops a powerful scenario of being Shamloo-related meanwhile providing a solution to the urban issue and the social layers associated with the design.
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