I. MORNING

The village fades away
Where I last night came
Where they housed me and fed me
And never asked my name.

The sun shines bright, my step is light,
I, who have no abode,
Jeer at the stuck, monotonous
Black posts along the road.


II. MIDDAY

The wood is still,
As here I sit
My heart drinks in
The peace of it.

A something stirs
I know not where
Some quiet spirit
In the air.

O tall straight stems!
O cool deep green!
O hand unfelt!
O face unseen!


III. EVENING

The evening closes in,
As down this last long lane
I plod; there patter round
First heavy drops of rain.

Feet ache, legs ache, but now
Step quickens as I think
Of mounds of bread and cheese
And something hot to drink.


IV. NIGHT

Ah! sleep is sweet, but yet
I will not sleep awhile
Nor for a space forget
The toil of that last mile;

But lie awake and feel
The cool sheets’ tremulous kisses
O’er all my body steal …
Is sleep as sweet as this is?

— 

A Day - Charles Baudelaire

From The Three Hills And Other Poems, ed. John Collings Squire

Vista interior de la estancia a la escalera y la entrada, Casa Julio Rodolfo Moctezuma Cid, avenida Paseo del Río esq. callejon San Angelo, Chimalistac, Álvaro Obregón, México DF 1957 

Arq. Fernando López Carmona

Interior view towards the staircase and entrance from the living room, Home of Julio Rodolfo Moctezuma, av. Paseo del Rio, Chimalistac, Alvaro Obregon, Mexico City 1957

4

The Collège Protestant Français de Jeunes Filles in Beirut by Michel Écochard in 1961. The architect introduced many philosophies of Le Corbusier and modernism to the Middle East through this and other similar public projects. The design plays with light and shadows as well as the purity of white and simple lines. It allows for an optimistic space of learning and creativity unseen in French schools before this era.

4

The Ex-Majlis Building in Tehran by Heydar Gholi Khan Ghiaï-Chamlou in 1955. The project depends heavily on principles of Islamic geometry and combines them with varied textures, materials, and dimensions. Long, exaggerated lines are used on the exterior façades, echoing the Futurist Manifesto. The brise-soleil recalls traditional Middle Eastern screens that filter light and delineate ornate patterns cast in shadows upon three dimensional surfaces. The dome of the building was inspired by the architect’s family crest. It was one of the first major modernist projects in Tehran and was considered the greatest advance in Iranian architecture at the time. Rather than borrowing from the west, it evolved the traditional forms already found in the vernacular architectural vocabulary of the region.  

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