yazik.info Tutorials Cronache Del Mondo Emerso Le Storie Perdute Pdf


Saturday, May 11, 2019

yazik.info yazik.info,yazik.infoo. yazik.infoe,yazik.info,yazik.info Nihal. Cronache del Mondo Emerso - Le storie perdute by Licia Troisi is Fantasy « Dobbiamo risalire all'inizio di tutto, al giorno che cambiò per. COM Online. Source For Free Ebook and Pdf Downloads. Cronache Del Mondo Emerso Le Storie Perdute File. Reading is a favourite pastime for many of us.

Cronache Del Mondo Emerso Le Storie Perdute Pdf

Language:English, Spanish, Hindi
Genre:Children & Youth
Published (Last):25.09.2015
ePub File Size:26.51 MB
PDF File Size:12.22 MB
Distribution:Free* [*Register to download]
Uploaded by: SHARA

Cronache del Mondo Emerso. Nihal della terra Mar GMT Licia Troisi - Wikipedia Cronache del Mondo Emerso - Wikipedia Le storie perdute. Download Nihal Della Terra Del Vento Licia Troisi Pdf Ebooks. processuel, le ra©cit du pa©lerin, le storie perdute. cronache del mondo emerso, le superguide pour enfin oser · aªtre soi. Powered by TCPDF (yazik.info). Nihal è davvero strana, nel Mondo Emerso sembra non es Nihal della terra del vento (Le Cronache del Mondo Emerso, #1). Other editions. Enlarge cover.

This could be related to technical reasons linked to the safeguarding of the ruins, but perhaps the decision is of a different order, connected instead to the process of development of the city of Jerusalem throughout history, which has always taken place in single bursts rather than in a continuous evolution.

As I mentioned earlier, Jerusalem is a place where many cities accumulated throughout the centuries next to each other, one inside of the other, without ever managing to blend into one single entity.

Contemporary architecture is no exception: Among the many and opposing reactions that Jerusalem triggered in me since the first visit was a very strong interior and emotive instinctive attraction to the many characters of its composite identity.

Foremost, even beyond all the possible cultural elements which ascribe meaning first to the symbol and then to the city, was the recognition of the fundamental and constitutive nature of space. A nature which lies before the many languages present in it and before the many remarkable superposed historical layers, and which is perceived as an essential element of the city.

That is a trait which we can identify as something certainly different and more ineffable than the usual prevalence of emptiness on fullness; a feature which is common to most cities, especially in the Mediterranean area. This contraction condenses the experience of the city in a simultaneity made of differences, but also of links between the small and large scales, between interior and exterior spaces, between collective and private spaces, in an organic reciprocity which is substantial rather than formal and related to the relationships generated in it.

The unexpected complexity of the interiors, envisaged as urban cavities, as absences excavated in a primal mass in which life goes vibrantly on, lies side by side with the severity of the exteriors, with their weightiness and expressive silence, however tainted today in Jerusalem by the myriad signs of the so-called modern civilisation, such as the TV antennas, water tanks and air-conditioners and all the superstructures linked to an invasive tourism and omnipresent commercial activity.

The result is a city capable of carrying within it the force of a remote spatiality whose traces constitute a visible substratum linked to the topography of the places which was readjusted and corrected in time, precisely through architecture. Having said this, I firmly believe that one is capable of seeing what is known first, and the rest only later. Thus when I visited Jerusalem for the first time, when I began to perceive the responsibility.

A sort of immediate deja vu took place which adjusted what I was seeing to something that already existed within me, which was part of my education, of my way of looking at space, of conceiving and developing it, but also within that instinctual and emotive dimension that we carry within us and which is the expression of the specific place that we come from and which, as if perceived through intersecting mirrors, allowed me to recognise it in Jerusalem and to instinctively feel a part of it.

Processes which constitute the essence of Italian urban culture, whose history, at least until the Modern era, with rare exceptions is a history of superimpositions that repeat their layout dynamics in evolutionary ways, finding mutation in continuity. Muri che proteggono, che recingono e che descrivono, ma anche muri che si abitano, che si aprono e che si offrono.

Muri che chiudono ma anche muri che si discostano, che contengono ma anche che orientano. Muri assertivi e misteriosi ma anche muri che accolgono. Muri scanditi dal sole nella loro perfetta geometria ma anche muri vibranti di ombre, muri che cambiano consistenza con la luce.

Muri che affiorano dal terreno e che sovrapposti tra loro si offrono come tracce di epoche passate a testimoniare antiche visioni del mondo. In altre parole, un confronto basato sulle essenze, sui principi, su quella dimensione. This is what happened to me with Jerusalem. This is a city in which the urban mass undoubtedly takes on many of the meanings of the theme of the wall.

Walls that protect, that enclose and describe, but also walls that are inhabited, that open and offer themselves. Walls that close in and separate, that contain and provide direction.

Assertive and mysterious yet also welcoming walls. Walls which lie in the sun in perfect geometrical forms, walls that vibrate in shadows, walls that change consistency with light. Walls that surround the city in a clear-cut design and walls that are a continuation of the city as it merges into the landscape.


Walls that surface from the ground and lie upon each other like traces of past epochs, bearing witness to ancient visions of the world. I obviously know that the comparison between the two cities is only a mental process, all internal to issues that find no reflection in the concreteness of things. In other words, a comparison based on essences, on principles, in that dimension that lies before the contingency of forms. It is as though my instinctive bond with the city were based, rather than on the immanence of material criteria, on the far more ineffable complexity of the associations between categories, in other words on connections, links, dialogues and relationships.

Relationships whose materialisation in architecture, although expressively solved through other material, linguistic, geometrical and formal methods and interpreted in completely dif-. All of this to say that although having undertaken the Jerusalem projects was a new and unusual event in terms of my compositional research curriculum, it was in a sense as though I was going down paths which I instinctively knew or recognised, because even when based on completely new paradigms they included a set of meanings whose figurative nature, independently of the diversity of languages, I had experimented with and interpreted before in my research.

Having said this, the universality of Jerusalem, its immense symbolic power, its history, its legendary nature, its being archetype before concrete reality, triggered in me an interrupted flow of design activity whose productive intensity has been practically unparalleled for me.

Once I finish with a project I generally tend to distance myself from it and to move on to new projects and possibilities. But not all projects are the same, and the Jerusalem projects had such a strong pull of attraction that they generated a continuous process of rethinking which may never reach a definitive conclusion.

There are projects which in fact have a neutral effect and may pass unobserved, others instead which say all that can be said about a certain theme in a certain place and exhaust all further possibilities of development.

I say this because the four projects presented in this book and envisaged for four different places in Jerusalem fit into this category.

All four projects derived from the requests of some Israeli friends and colleagues who invited me to address issues which are greatly. In other words in order to address the character and identity of their city from a different design approach, based on a different training and education. A different sensitivity and perception that can express a possible dialectics between modernity and history, between present and memory, between project and remembrance.

Thus, with the thoughtlessness that only enthusiasm brings, after having accepted their invitation and having made a first trip to their city, I began to ponder on the areas we had identified, initiating the process of a project that has been with me for some years now every time I return to Jerusalem. This book therefore does not present definitive solutions and absolute answers, but rather photogrammes of a process of becoming that in time will probably develop other shapes and other directions.

In other words, visions of projects, rather than projects, although their degree of compositive depth, their possible feasibility and graphic detail could suggest the opposite; yet this is a contradiction which is a part of my way of designing. But while the sketch, instinctive and synthetic, is made only for my benefit, that is for seeing and understanding things, it also serves the purpose of establishing a dialogue with the uniqueness of a place, and for sharing this dialogue with others.

This is why, with few exceptions, I present only drawings and not sketches, which in terms of bulk could fill other entire books. I present detailed drawings that do not admit secondary planes and in which everything is implacably placed under the same perspective and the same judgment.

They do not attempt to hide or to be biased, but rather offer themselves in all their minute reality. Also for this reason I love narrating in black and white, because colour seems to dull and soften the force of shapes and to blur their true compositive essence.

In particular, the four projects presented are developed within a groove of modernity which, however, is sensitive to the character and identity of the city with which they are entering into dialogue. Although interpreting themes, materials, geometries, measures and figures, so as to be integrated without contrasts within the evolutionary flux of this city, they declare a distance from any possible references relatable to the past, thus maintaining and presenting a well-visible contemporariness.

These are therefore projects which enunciate a reference code to which they belong, but which at the same time attempt to announce the dissolution of the code itself. Projects which inhabit areas that are particularly dense in terms of memory, attempting however to respect this memory and to turn it into the fulcrum of their various figuration paths, working in close relationship with. Sono progetti, quindi, che enunciano un codice di riferimento entro il quale inserirsi, ma sono anche progetti che al contempo cercano di annunciare la dissoluzione del codice stesso.

Sono progetti che inserendosi in aree particolarmente dense di memoria, cercano di rispettare questa memoria e di farla diventare la leva dei loro diversi percorsi di figurazione, che lavorano tutti in rapporto con i lacerti del passato, siano essi tratti di antiche cinte murarie o stratificazioni archeologiche risalenti ad epoche diverse.

It is these complex layers in particular that constitute the backdrop onto which new signs are inscribed, often very assertive yet always leaving ample space for establishing relationships and dialogue. In other words, with specific reference to the projects in relation to archaeology, it can be said that each of them attempts to address its own dynamic process based on the simple consideration that while every trace can constitute an enormous potential heritage, at the same time it can sadly also be a mere ruin that is no longer capable of communicating with the present.

The difference between these two opposing possibilities lies in the contemporary architectural project devised in relation to them, that is through an approach that includes the archaeological ruin in a more general process which is capable of re-ascribing a contemporary meaning to the various fragments that have been distanced from their original connotations.

All of this while paying attention to the simultaneity of the various ages to which the ruin belongs and which place it in the present, so that it is available once again for a contemporary interpretation. These are, therefore, four projects for the in-situ musealisation and valorisation of traces of the past, placed side by side with other contemporary traces, which as a whole attempt to narrate their possible continuing life-cycle. Through the practice of a systematic process of analysis of the var-.

Foremost among these is the dialogue with the place, understood in its double sense as a physical location and as a paradigmatic site, in such a way that the architecture can be considered as being in harmony not only with the ruins themselves, with which it is directly related, but also with the whole set of elements which constitute the place on which they stand. Each of these four projects inevitably bases its compositional motive on the section, in the sense that each of them is almost a sort of extrusion of a matrix section that becomes the skeleton of the space; a section as only form of prefiguration, control and management of the spatial complexity they are organising.

The fact of basing the composition of space on the section is an example of my way of designing, which in turn derives from my Florentine education and training. Sono, quindi questi, quattro progetti di musealizzazione e valorizzazione in-situ di tracce del passato, alle quali si affiancano altre tracce contemporanee il cui insieme vuole essere capace di mettere in atto la narrazione di un loro possibile ulteriore ciclo vitale.

To this is added the dialogue with the materials, both those existing in the current use-cycle and those that have become mere ruins that have lost their vital pulse yet are still splendidly capable of revealing the compositive force of the spaces to which they bear witness. In other words to turn existing elements in the city into symbols of the many relationships established by the projects in such a way that roofs, squares, clearings, walkways, but also facades, views and windows may extend the community dimension of the city to the very heart of the proposed projects.

This means, in other words, joining the new buildings to the existing city, not only through the linguistic and functional dimension, but also, and especially, through that of connections and relationships. The resulting architectural structures, in fact, are only new urban walls. Walls that embrace and restore, walls that translate the principles of forms rather than forms themselves, walls which want to offer more than merely new services for the historical city and its archaeological sites.

Walls which offer the possibility of a recipro-. Le architetture che prefigurano sono in definitiva, infatti, solo nuovi muri urbani. One of their main objectives, however, was to take the city of Jerusalem from the Jordanian government, which they did the following day, following an aerial bombardment. Inaccessible to Israelis for over twenty years, the Old City thus became the focus of the reunification that Teddy Kollek — the well-known Mayor of Jerusalem at the time, and who would remain in office for six terms — promoted through a large construction and urban re-qualification programme.

Parked on the Bun!

The priority interventions include the reconstruction of the Jewish quarter which had been destroyed during the war of independence, the reconstruction of the Hurva synagogue, originally commissioned to Louis I. Kahn, whose project was considered too modern to be harmoniously inserted in the dense historical context of the Old City, as well as the demolition of the section of the city that had encroached on the Western Wall to such an extent that only small group of Jews were able to pray at a time.

The result of the demolition was a wide clearing which has never truly become a proper square, but rather a vast and anonymous, provisional and functional space in which crowds gather at the most sacred place for Judaism for religious or political purposes.

This entire space is focused on the Western Wall, which in fact is a part of the retaining wall built by Herod the Great around Mount Moriah in order to enlarge the small clearing on its top and on which both the First and Second Temples had stood.

Get A Copy

The work for its construction. Lavori che a suo tempo hanno compreso lo scavo della collina Antonia, il riempimento della Valle Betzetha e il riempimento della Valle del Tyropeion con la costruzione dei relativi canali di drenaggio. Dopo la distruzione del Primo Tempio per mano di Nabuccodonosor e del Secondo Tempio per mano di Tito, la forza del luogo venne comunque riconosciuta anche dai romani, in quanto Adriano al centro della spianata fece erigere un tempio dedicato a Giove.

These works included excavations in the Antonia hill, the filling of the valleys of Bethesda and Tyropeion and the construction of the relative drainage channels.

What today is mistakenly referred to as the Wailing Wall is only a surfacing section of the long Western side of this wall, in particular the part that is adjacent to what in the past was the bridge that connected the wall to the Upper City and which currently marks the boundary of the section built orthogonally to the Wall.

This section of the Wall represents the most sacred place on earth for Judaism, because it is the part which is nearer to the location of the Temple, and it is for this reason that for two thousand years Jews have gathered here to pray.

This is a place that exudes a great force and which has been heavily contested throughout the centuries because it is intimately connected to the history of both Jews and Muslims. The structure which Herod wanted to build as a symbol of his power stood on Mount Moriah, where a large slab of stone stood which for the Jews represented the place where the world was created.

The Talmud says that it was from this Mount that God took the earth he used for created Adam, while in the Book of Genesis it says that it was on that rock that Abraham was about to sacrifice to God his only son, Isaac. After the destruction of the First Temple by Nebuchadnezzar and of the Second Temple by Titus, the spiritual power of the location was recognised by the Romans as well and Hadrian had a temple built in honour of Jupiter.

Nihal della terra del vento

Subsequently, with the Muslim conquest of Jerusalem, a Mosque was built on the location where the First and Second Temples stood. A Mosque which includes in its interior the same stone which also belongs to the Hebrew tradition.

From that exact spot, according to Muslim tradition, the Prophet Muhammad ascended to heaven, having completed his journey riding his legendary white horse al-Bu-. Successivamente, con la conquista musulmana di Gerusalemme, fu costruito al posto del Primo e del Secondo Tempio, una moschea che ingloba al proprio interno quella medesima lastra di roccia della tradizione ebraica.

Today, next to the great clearing facing the Western Wall, where the dense urban fabric of the Jewish quarter begins to climb, there is an archaeological site whose depth reveals the various historical superimpositions of its levels.

In particular, starting from the bottom there are traces of foundations from the period of the First Temple, walls belonging to the Second Temple, ruins from the Roman and Byzantine eras, among which some pavement of the second decumanus and remains of artisan workshops from the Mamluk period.

The general idea for the project stems from the intersection of various intentions, foremost that of ascribing the category of square to this vast urban space, recreating an urban backdrop that is capable of entering into a dialogue with the compactness of the Western Wall standing before it, yet at the same time allowing the view and access to the underlying archaeological excavations.

To this double intention is added a building envisaged as a new front for the Jewish quarter overlooking the square, capable of interacting with it and establishing a direct connection with the vital flows coming from the outside.

It is for this reason that the building is envisaged as a compact and assertive mass which appears suspended in its central section. This permits the passage from the square into the building and then descending to the level of the archaeological site which thus becomes an integral part of the whole. In the proposed project, the current level of the square is continued into the building through a walkway that surrounds the entire archaeological area and distributes the various functions that face it and from which it is possible to descend to the level of the excavations themselves.

On the square, in addition to various accesses which connect to the higher levels, a series of functions are envisaged linked both to the city and to the interpretation of the ruins, such as a room for temporary exhibitions, a series of areas for tourism information and orientation, a cafeteria and other miscellaneous services. The entire building is conceived as an almost rectangular structure with an open central space over which the volume of the auditorium is suspended and linked to various levels of the building.

This solution permits maintaining a central space which, although near both the archaeological level and the square, is as open and naturally illuminated as possible, so as not to need any load-bearing structures which could otherwise be in conflict with the archaeological remains. The archaeological site is thus appreciated in its complete integrity.

The building has two different levels of access, a lower one at the level of the square, and an upper one at the level of the current pedestrian path that separates the archaeological area from the Jewish quarter, thus providing the building with both planimetric and altimetric connections to the surrounding urban fabric. The upper levels of the building house a mix of functions including a Centre for Documentation, a Museum of the Wall and a hall for conferences and projections.

The exhibition area is placed in the wing that faces the square and the Wall, however its connection to them is filtered and oriented by the vertical openings which allow to glimpse rather than to see their luminous presence. The middle floor is detached from the wall and allows the light from the skylight to illuminate the entire facade. The treatment of the facades is different depending on whether they are facing the ruins or the exterior. There is thus a dichotomy between the exterior and the internal courtyard which gives a massive, silent, and mysterious appearance to the building on the side facing the city and is more vibrant and porous toward the interior.

The facades overlooking the empty space are in fact characterised by a greater expressiveness and are formed by thin vertical elements in stone which screen off the glass windows behind them. This results in a great homogenisation which mitigates the expressive nature of the theme. The only exception to this is in proximity of the conference room which is suspended over the courtyard and on which a wide window opens that is unobstructed by the screening vertical elements.

I fronti esterni sono volutamente privi di qualunque accento espressivo. In fact the whole facade overlooking the square is characterised by the great shady passage that leads to the ruins, on which the jutting volume of the building is suspended and whose thin vertical openings provide illumination to the exhibition rooms behind. This theme alludes to the Western Wall, interpreting with a great level of abstraction the superposition of its stone masonry, whose only exception is the great vertical opening which interrupts the design of the vertical cuts and offers a wonderful view over the Wall and the Dome of the Rock.

The whole volume of the building that projects over the base of the structure which contains the great passage that leads to the square has a single acute angle near the southern section of the square.

This design choice derives from the fact that the main entrance to the square is from that direction, which means that the first view of the building is not frontal. It was decided to bend the volume in that direction with the purpose of generating a greater expressive tension in relation to the angle, obtained with a triangular section of shadow that results from the misalignment of the body and the base of the structure.

Toward the built section of the square the building is placed next to the existing flight of steps so as to create a sense of continuity between the various urban levels, while on the opposite side a new set of steps separates the building from the surrounding buildings. The envisaged materials are neutral and basic, such as the Jerusalem stone, used in slaps for cladding the exterior surfaces and some interiors, exposed concrete for the intradoses of the floors, plaster for a few of the interior surfaces, as well as glass, wood and weathering steel.

All the interior spaces are neutral and basic and the light, often coming from above, such as in the exhibition rooms and in the conference hall, plays a fundamental role.

As a result of the fact that relationships are the true essence of the project, the building is not only a sort of plinth for the city above it, that is an element providing order and measure to the chaotic complexity of.

Tutti gli spazi interni sono caratterizzati da una dimensione neutra ed essenziale nei quali la luce, che in molti casi proviene zenitalmente come nelle sale espositive e nella sala conferenze, riveste un ruolo determinante nella percezione degli ambienti.

The roof, for example, which can be reached from the level of the street above, serves as an extension of the living space of the square, and provides places for resting and panoramas over the surrounding city.

Through its section, which alternates low areas and fixed sitting areas on terraced steps, stone paving and wooden platforms, it is possible to envisage a sort of large inhabited bas-relief where the visitor can rest, gather or — why not? This is a proposal which attempts to develop in two directions, one which is related to the concrete dimension of matter and measure, as well as of appropriateness, and another linked to the more ineffable, yet perhaps more spiritual and therefore more important, dimension which is based on a sensitive interpretation of identities, features, themes, figures, types and languages and which in fact constitutes the essence of the contemporary project in relation to historical contexts.

The area concerning this project is located near the Dung Gate where the City of David begins, immediately outside the northern section of the walls, which is the part of the fortifications which was built during the reign of Suleiman the Magnificent.

Given its strategic position near the base of what was once the Temple and is now the Temple Mount, it was until a sort of buffer zone between the Mount itself and the Arab quarter of Silwan, as well as a parking lot for tourist buses, allowing visitors to reach the heart of the historical city.

It is precisely when work began for expanding the parking lot in , with the intention of turning it into a multi-level structure that would include tourist services, that archaeological remains were found in the area. Excavations were concluded in , revealing an extraordinary series of layers of ruins belonging to different eras. Around the walls Fabbrizzi by DIDA - Issuu In particular, beginning from above, remains were found from the Muslim, Byzantine and Roman periods, whereas at the lower level was found what Israeli archaeologists consider to be a great discovery, that is the remains of a building belonging to the period of Second Temple, which could well be the Palace of Queen Helena, who ruled the Parthian kingdom of Adiabene on the banks of the Tigris in Mesopotamia, yet later converted to Judaism and moved to Jerusalem at the time of Herod the Great.

The area currently covers a trapezoid space at the bottom of which lie the archaeological traces. It is surrounded on two sides by sloping streets, whereas the remaining two sides are adjacent to the chaotic quarter of Silwan.

It is not possible at present to access the archaeological level directly and the only way to visit it is through a walkway along two of its sides at a level above that of the ruins. Gli scavi conclusi solo nel hanno portato alla luce una straordinaria stratificazione di resti appartenenti ad epoche differenti. As a result of the great differences in height between the current level of the city and those of the various archaeological layers, three sides of the area consist in a piling structure which supports the earthen walls.

This solution gives the whole area the appearance of a large worksite, rather than of a protected heritage area. For this reason, the project proposal is based on the idea of consolidating the margins of the great urban space in question through new walls clad in Jerusalem stone so as to set the boundaries of the archaeological area and hide the pilings, as well as to become the support for all the new functions which thus overhang the archaeological site.

The overall intervention attempts to establish an effect of continuity between the ruins, the existing urban structures and the new buildings. The envisaged intervention attempts an integration with, and possible completion of, the nearby archaeological site of the City of David, with which it can be connected through the existing underground tunnel.

In particular, along the northern section of the area, in the long space that runs parallel to the ancient walls, the construction of a building is planned to house multiple functions in support of the archaeological site but also of the tourists who visit the city.

This building presents a trapezoid facade on the existing street which lies at the foot of the walls. From its lower section it is possible to enter the level of the roof which thus becomes a new public space for the city, whereas from its upper section an opening connects to an internal distribution hall from which it is immediately possible to see the entire archaeological area through wide bow window jutting from the facade. From this space it is possible to connect with all the services and functions offered by the building, in particular with the level directly connected to the street where all tourism-relat-.

Tale edificio, potrebbe funzionare anche come centro visite principale a servizio delle due aree archeologiche. From here a double ramp descends directly to the archaeological level where a visiting itinerary begins, consisting in a wooden walkway, which permits seeing the ruins at very close range. The loggia situated under the linear building is also the starting and arrival point for a ring route which runs at an elevation along all the sides of the area and permits seeing the ruins up-close but also provides an overall perspective.

This walkway connects with the existing exit to the ancient tunnel which begins at the Pool of Siloam and passes under the City of David. This walkway is characterised by a discontinuous profile which, however, attempts to regulate the various orientations of the sides of the archaeological area. It provides rest areas with places for sitting and shade, as well as circular openings which allow the view over the underlying areas.

The whole area was envisaged as traversed by flows whose traces become the matrix of the project. Taking advantage of the inclinations of the area, it was envisaged to build on the opposite side of the longitudinal building, that is adjacent to the Arab quarter, another exhibition room at the same level of the intermediate ring walkway which goes around all the sides of the area.

In this exhibition room, in addition to the systems which offer the interpretation of the sites, are displayed artifacts found in the excavations, for example the extraordinary gold coins from the Byzantine period. This room is linked. The square has a projecting stone roof which includes various vertical links to the lower exhibition level and areas for sitting which permit resting and observing the whole archaeological area from a glass parapet.

The entire project is based on highlighting the relationships and reciprocities between the various parts.

The theme of the gaze and of the visual relationship between the various elements is a sort of general theme which subtends the general comprehensive intentions of the project. For example, from the interior of the longitudinal hall on the side of the Arab quarter a great glass window that faces north, yet partially screened by vertical elements in weathering steel, offers a view that goes beyond the entire archaeological site to include the facade of the new building suspended over the wall that encloses the archaeological area to the north.

A facade envisaged as a sort of ideal base for the existing fortified walls of the Old City, above which stands the dome of the Al-aqsa Mosque and its minaret.

A facade which also underlines its own longitudinal nature through the presence of two long parallel openings which illuminate the exhibition rooms behind. A sort of sleek subtraction of the compactness of the volume which permits drawing back the glass panes from the facade in order to obtain large illuminated surfaces that do not undermine the massive nature of the facade.

The project uses few materials and seeks consonance and continuity with its surroundings. All walls are clad in slabs of the traditional Jerusalem stone, whose natural warm sandy colour and imperceptible. A few accents are added to this uniformity, given by the weathering steel used for doors and windows, structures and parapets, whose imperfect finishing which appears weather-beaten matches the archaeological theme, as well as the wooden slats used for the walkways and the glass used for additional windows and parapets.

Another theme which underlies the entire project is that of giving an urban trait to the intervention, in other words to make the archaeological fragment a living element in the transformation of the city and not just a simple remain to be safeguarded and protected. The in-situ process of turning the area into a museum is thus an opportunity for including these traces from the past into a flow of becoming, bringing new life to them.

The project aims to let the living pulse of the city enter into its spaces, so as to turn the archaeological area and its new structures into a vital element that links a variety of contexts, rather than to have it remain an isolated and self-referential element, like an open wound in the urban fabric.

The entire territory on which historical Jerusalem stands is characterised by a series of small valleys and hills whose artificial rearrangements carried out throughout the various eras resulted in its current appearance.

In particular, the section of the walls that was widely restructured during the Ottoman occupation, but already present since the Hasmonean period, which faces west and is situated between the right angle near Mount Zion to the south and the Jaffa Gate to the north, today separates the Armenian Quarter from a complex topography which alternates densely built and green public areas. Beyond this section of the walls, where the Armenian Quarter now stands, the Tenth Roman Legion was garrisoned after the destruction of the city by Titus in the year 70 A.

The destruction affected the walls as well, with the exception precisely of the western section which remained standing, together with its three towers which were left to fortify the Roman garrison.

Some studies consider the possibility that Pontius Pilate himself lived inside it, which could mean in turn that this is the place where Jesus Christ was condemned to death. It is thus evident how this area is rich in historical references and memories, and so is the area immediately outside this section of the walls, that is the middle part of a long valley which begins at Mamilla to the north continues alongside the western section of the walls and then turns to the south-east where it is called the Valley of Hinnom.

Many infrastructure works were carried out in this valley through the various historical periods — as in other parts of the city —, including. Tali edifici presentano una volumetria scalettata che si adegua alla conformazione inclinata del terreno, coperture piane e a cupola e nello stretto ambito che li separa, si apre uno spazio pubblico dotato di rampe e scalinate che supera i vari dislivelli del sito.

Anne, above it is the pool of Mamilla and below it the pool of Serpents, both quite large and visible as traces in the system of green public areas that characterise this area of the city. These buildings present a scaled volumetrics that adapts to the sloping terrain, flat and domed roofs and a public space between them with ramps and steps for overcoming the differences in elevation.

It is on these memories that this project is based, inasmuch as it attempts to include inputs of very different types in an interpretative process that is founded on the various compositional figures revealed by history and the present features of the area.

Features in which a general feeling of threshold prevails, marking the border of the walled city; a boundary where two different worlds meet and where the built environment and the landscape establish a relationship precisely through the dialectics between mass and nature.

This is the reason for envisaging the construction of an architecture that is capable of involving with its presence the topography of the place; an architecture that is linked to it as a sign that is both clear and assertive at the same time, but which is also an element for mediating between the various parts of the context and a contemporary expression of a possible variation on the relationship between nature and artifice. An architecture which is capable of intervening at the ground level, carving, corrugating, subtracting, excavating and modelling the terrain and at the same time leaving a geometrically precise, tangible and intelligible sign, through a shape that is both architectural form and urban design.

The project for the new building for the Museum of the Walls origi-. While maintaining the same position and orientation of the existing double building, it is to be substituted with a new building whose longitudinal structure, always at the same height, may link the two slopes of the small valley in which it stands.

A dyke which is not placed for preventing the flow of water, but symbolically to capture, englobe and redirect new and old flows, new and old relationships coming from the urban fabric outside the walls, as well as from the public green areas. This is the purpose for devising a porous architecture which, contrary to appearances, is capable of connecting and not holding back, of putting into relation and not blocking. The new building designed for housing the Museum of the Walls is in direct contact with the existing walls.

It was so sweet. The first time she began to see someone as a man and not a companion or a friend or parent, and it was so sweet to read.

Nihal, soana, and Sennar travel for Sennar's inauguration to become a full-fledged sorcerer and they meet up with Fen the dragon knight and his dragon. Upon seeing Fen all these strange feelings bloom in Nihal and it nearly knocks her off her feet. It certainly left her tongue tied! As sweet as it was to read it, it was just as bittersweet to read her to realize that Soana, her aunt and the sorceress, held Fen's heart.

This is the first time Nihal's felt romantic feelings for someone, and I love that it was handled exactly right.

Nihal is very stubborn, very pig headed. As she grew older and more trained, won more battles, she began to get a sense of invisibility, hell she never needed armor, that it was just her and her mission and others were wrong to try to sway her or get in her way, even her superiors.

That's a thing she has to reign in, that her way isn't nearly the right way, especially with the dragons later on. Her love of Fen, while forever unrequited, really does get in the way of her developing relationship with Sennar. That what ever hopes, dreams, and fantasies she had for a future with Fen greatly clouded her judgement and put a wedge between her and Sennar. And while I felt bad that she lost her first love, I feel more bad for Sennar and his developing relationship with Nihal because it's not fair on him that Nihal acted the way she did towards him later on, so distant and standoffish.

It doesn't seem like she realizes the great responsibilities that they both had and how they had to grow up and do them, that the responsibilities would take them away from each other. The way she prioritize makes her very self centered and makes her push away people who care for her and means well.Original Title. Totally unknown until a few decades ago, this place was discovered thanks to its description in the gospels, and today the steps that lead down to the pool are witness to the concrete reality of a narrative that is not very valorised today except by those who study the historical reality that is sculpted in the rock.

She is an expert in swordplay and the leader of a handful of friends that includes Sennar the wizard. She got married in and is currently a PhD student in Rome. My main problems all revolve around the main character, Nihal.

Now, before I say anything else, I did finish this book.