Raised in the historic city of Isfahan, Mohammad Gharipour received
his Ph.D. in Architectural Theory and History from Georgia Institute of
Technology in 2008 and Masters of Architecture from the University of Tehran in
2000. He teaches architecture at Morgan State University and is the Director and Founding Editor of the International Journal of Islamic Architecture. His
areas of research include Japanese traditional and contemporary architecture,
Persianate gardens and architecture, and restorative environments. He is the
recipient of Spiro Kostof fellowship award from the Society of Architectural
Historians (SAH) in 2008 and the author of several publications including Persian Gardens and Pavilions: Reflections in
Poetry, Arts and History(I.B. Tauris, 2013). in 2014, Dr. Gharipour was presented with the National Endowment for Humanities Faculty Award for his research on Synagogues of Isfahan, Iran.
Woodbridge, Sam. "Reviving Kabul: Notes on the Restoration and Adaptation of the Great Serai." In International Journal of Islamic Architecture, Volume 1, Number 2 (pp. 349-366), edited by Mohammad Gharipour, Bristol: Intellect, 2012.
The Great Serai is a historic property located in Murad Khane in the old town of Afghanistan's capital, Kabul. Dating back to the 1880s, the building was constructed using locally available materials and techniques. As one of the largest surviving properties of its kind in Kabul, the Great Serai is acknowledged as an important example of traditional vernacular Afghan architecture. From March 2007 to October 2010 Turquoise Mountain, a not-for-profit organization with a remit to preserve and protect Afghanistan's cultural heritage, restored and adapted the Great Serai for use as a calligraphy school and administration centre by the Institute of Afghan Arts and Architecture. From January 2009 to September 2010, I was employed to manage this work. Focusing on the practicalities of construction in post-conflict Afghanistan, these notes begin by outlining the historical, contractual and regulatory context within which the project was carried out. This article explores the trials entailed in working in an unsettled zone without an established legal framework, proper records or planning regulations and building codes. A description of the process and philosophy that guided the design and construction work then follows, exploring the intent to preserve the authentic character of the building while updating it for contemporary usage. The final section offers a critical overview of lessons learned before concluding with a personal reflection on the 'value' of the building, both as a heritage asset and looking forward, a place of study, learning and creativity.
Keywords: Afghanistan; The Great Serai; creative re-use; heritage preservation; post-conflict; urban regeneration; vernacular architecture