背景 – 苏菲主义是伊斯兰教中最令人惊奇、最发人深省的一个方面。苏菲主义源于更多的哲学和社会观点，侧重于与真主的亲近（Schimmel, A., 1975）。苏菲圣人通过他们的宗教和传教热情、模范品格和人道主义活动，参与了伊斯兰教在孟加拉的传播。他们甚至作为统治者的顾问参与了地区政治，并影响他们做人道主义工作。乌韦斯是苏菲主义的Tariqa（途径），在精神上传播伊斯兰神秘主义的词汇，以乌韦斯-卡兰尼命名。该项目是为Uwaisi Tariqa的 “Pir “建造的Dargah。虽然 “Pir “这个词是波斯语，但由于波斯圣人在这一地区传播伊斯兰教的作用，它被改编为当地语。现有的坟墓最初被埋在 “皮尔 “的住所内。后来，”Pir “的祖先决定在坟墓上建造一个关于Pir的记忆和贡献的独特（陵墓）结构。
Background – Sufism is one most amazing, thought-provoking aspects of Islam. Sufism is derived from a more philosophical and social standpoint focusing on closeness to Allah (Schimmel, A., 1975). The Sufi saints were involved in the spread of Islam in Bengal through their religious and missionary zeal, exemplary character, and humanitarian activities. They even involve in regional politics as advisors to the ruler and influence them to do humanitarian work. The Uwaisi is a Tariqa (pathway) of Sufism that spiritually transmitted the vocabulary of Islamic mysticism, named after Owais al-Qarani. The project is a Dargah for the ‘Pir’ of Uwaisi Tariqa. Though the word “Pir” is a Persian word, it was locally adapted due to the role of the Persian saints in spreading Islam in this region. Existing graves were originally buried inside the residence of the “Pir”. Later on, the ancestors of the ‘Pir’ decided to build a unique (mausoleum) structure over the graves regarding Pir’s memory and contributions.
在过去的时间里，孟加拉曾被不同的势力统治过。 这片土地成为多学科文化、信仰和哲学的家园。而它谦逊地适应了所有的多样性，随后在文化、宗教信仰和建筑方面形成了独特的特点。从13世纪开始，直到18世纪中期英国人占领孟加拉，孟加拉一直由穆斯林统治。几乎四分之三的清真寺是在独立苏丹国时期（1342年至1576年）在孟加拉建成的。苏丹国时期的清真寺大多是方形平面，而不是长方形的土耳其清真寺。 虽然在孟加拉发现的墓葬数量不多，但它们显示出显著的多样性和对传统伊斯兰形式的有趣调整，以适应地区的品味和要求。Dargha的形成和材料都受到苏丹时期清真寺和陵墓的高度启发。
Bengal has been ruled by diverse powers over the course of time. The very land became the home of multidisciplinary cultures, beliefs, and philosophies. And it humbly adapted to all the diversity and subsequently developed unique characteristics in terms of culture, religious beliefs, and architecture. From the 13th century, until the British captured Bengal in the middle of the 18th century, Bengal was ruled by Muslims. Almost three-quarters of mosques were built in Bengal during the independent Sultanate period (1342 to 1576). The mosques of the Sultani period were mostly Square-plan rather than the long rectangular Turkish mosque. Though small numbers of tombs are found in Bengal, they show significant variety and interesting adaptation of the conventional Islamic form to regional tastes and requirements. The formation and materiality of the Dargha are highly inspired by the Sultani period’s mosques and Tombs.
概念： 天堂的吊灯–设计方法随着技术、可用资源、意识形态和当地文化的发展而演变，并将这些转化为一个综合的解决方案，自然地被当地社区所采用。一般来说，Dargah是一个受人尊敬的宗教人物的坟墓的家，通常是苏菲派的圣人或苦行僧。 在波斯语中，”Dargah “意味着 “门户”。从隐喻上讲，达迦是尘世的身体休息的家园，灵魂通过门户前往天堂，天堂的吊灯通过祝福他们的圣光将尘世的身体与更高的权力联系起来。坟墓的存在和吊灯的光线所描绘的图案创造了一种神秘的天体氛围，在人类的头脑中激起了一种精神概念。外壳是我们现实的复制，但内部空间却使现实超越了它。
Concept: Chandelier of the Paradise – The Design approach evolves with techniques, available resources, ideology, and local culture and transforms these into an integrated solution that is naturally adopted by the local community. Generally, a Dargah is a home for the grave of a revered religious figure, often a Sufi saint or dervish. In Persian “Dargah” means “portal”. Metaphorically, Dargha is the home where the earthly body rest and the soul travel to paradise through the portal and the chandelier of paradise connects the earthly body to the higher power by blessing them with holy light. The presence of graves and the pattern painted by the light of the chandelier creates a mysterious celestial ambiance that intrigues a spiritual notion in human minds. The outer shell is the replication of our reality but the inner space moves the reality beyond it.
形式的产生–在这个次大陆的伊斯兰建筑中，方形的单一单元主要用于墓葬，（Koch, E. 1991）。这些陵墓的灵感主要来自于孟加拉的传统结构的小屋。Dargah的规划采用了同样的方形规划，尺寸为36’x36’，在一个白色大理石平台上容纳了三个坟墓。与传统小屋的Vitti不同，Dargah的基座也被提高到3英尺。该项目是在一个住宅区的自然环境中进行的。 因此，设计试图保持非正式和自然的方式，而不是创造一个明显的入口。 此外，该方法击中了结构的一角，给人一种立体的想法。
Form Generation – The square single unit was primarily used for tombs in this subcontinent Islamic architecture, (Koch, E. 1991). These tombs were mostly inspired by the traditional structure of the Bengal huts. The plan of Dargah adopted the same square shape plan measuring 36’x36’ and accommodates three graves on a white marble platform. Unlike the Vitti, of the traditional huts the plinth of the Dargah is also raised up to 3’. The project Blend in a natural context of a residential complex. Thus, the design tries to keep the approach informal and natural instead of creating an obvious entrance. Moreover, the approach hits the corner of the structure, giving a three-dimensional idea of the massing.
该结构的高度在一个3英尺见方的底座上几乎达到了24英尺。天花板由三十六个圆圈组成，其灵感来自苏丹时期的多穹顶清真寺。天花板上的三十六个圆形冲孔中，有十六个成为圆柱形粪便，悬挂在华盖天花板上。 圆形冲孔和悬挂在华夫饼屋顶上的圆柱形粪便一起出现在一个动态吊灯中。自然光通过吊灯渗入Dargah，并在地板上形成一个自然的图案。为了确立任何结构的重要性，在苏丹尼时期的清真寺中经常使用角楼。达迦寺的侧面立面由重新发明的重复性塔楼组成，创造了一个熟悉而又新的标志性构图，吸引了社区的注意力。塔楼是半圆形的，上部是穿孔的Jalis’，用于自然照明和通风。
The height of the structure is almost 24’ on a 3’square base. The ceiling composed of thirty-six, circles are inspired by the multi-domed mosques of the Sultani period. Out of thirty-six circular punches on the ceiling, sixteen become cylindrical droppings and hung from the waffle ceiling. The circular punches and hanging cylindrical droppings from the waffle roof all together appeared in a dynamic chandelier. Natural light seeps into the Dargah through the chandelier and creates a natural pattern on the floor. To establish the significance of any structure the corner turrets were frequently used in Sultani period Mosques. The side elevations of the Dargah are composed of reinvented repetitive turrets creating a familiar yet new iconic composition that draws the attention of the community. The turrets are half circular and the upper part is perforated jalis’ for natural lighting and ventilation.
建筑干预 – 由于资源有限，采用了当地的石匠和建筑方法。由于当地发现的竹子的自然长度，脚手架需要分三次搭建，以建造21英尺高的天花板。施工中最具挑战性的部分是通过使用当地的施工技术在华夫饼板上悬挂6英尺的混凝土圆柱形粪便。首先，带有圆形穿孔的华夫饼板被浇铸，然后将圆柱形的粪便挂在上面。 每个圆柱形粪便都需要四个部分的金属百叶窗，每个部分都由两个3英尺高的分区组成，以便在华夫饼结构之间铸造6英尺的粪便。自然光通过穿孔板渗入圆柱形鸟巢内反弹，创造出一种戏剧性的氛围。半圆形的砖塔是参照吊灯天花板的边缘而铸造的。
Constructional Intervention – Local masons and construction methods were employed due to the limited resources. Because of the natural length of locally found bamboo, the scaffolding needed to construct in three tries to construct the 21’ high ceiling. The most challenging part of the construction was hanging 6’ concrete cylindrical droppings from the waffle slab by using local construction techniques. Firstly, the waffle slab with circular perforation was cast then the cylindrical droppings were hung from it. Each of the cylindrical droppings required four parts of metal shuttering and every part consisted of two divisions of 3’ height to cast the 6’ droppings in between waffle structures. Natural light seeped through the perforated slab bouncing inside the cylindrical droppings, creating a dramatic ambiance. The half-circular brick turrets are cast in reference to the edge of the chandelier ceiling.
材料 – 砖在孟加拉可以追溯到中世纪时期的佛教寺院。 在苏丹尼时期，砖和陶土装饰是围墙的主要材料。此外，社会强烈地认可红砖结构的大胆性。为了实现统一性和创造意义，只有红砖被用来作为Dargha的外壳和底座。为了实现各种意义上的本地化，我们从附近的砖场手工挑选了自然燃烧的红砖。结构元素—柱子、板块和圆柱形的粪便–是由混凝土制成的，因为它们在功能上需要支持更大的跨度和粪便的负荷，而且在施工上具有灵活性。三座坟墓被放置在砖地上的一个凸起的白色大理石底座上。
Materials – Brick dates in Bengal from the Buddhist Monasteries in the medieval period. In the Sultani period, brick and terracotta decoration was the primary material for the enclosure. Moreover, the community robustly recognizes the boldness of the red brick structure. To Achieve uniformity and create significance only red brick is used as the envelope and the base of the Dargha. To achieve localization in every sense naturally burned red bricks were hand-picked from the nearby brick field. Structural elements—columns, slabs, and cylindrical droppings—are made of concrete because of their functional need to support the bigger span and load of the droppings, and flexibility in construction. Three graves are placed on a raised white marble base on the brick floor.
Architects: Sthapotik
Area: 2116 ft²
Year: 2022
Photographs:Asif Salman
Lead Architect: Sharif Uddin Ahammed
Drawing And Site Supervision: Sharif Uddiin Ahammed, S.M. Mushhfiqul Karim, Sadeka Badiozzamman
Documentation Team: Sharif Uddiin Ahammed, Syeda Saikha Sudah, Asifa Jamal
City: Manikganj
Country: Bangladesh