The process of approaching treatment in the change of use of South Textile Factory to Yazd Museum of Warp and Weft
(The procedure for transitioning the South Textile Factory into the Yazd Museum of Warp and Weft (Tar-o-Pood)

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Raie Hosein; Biglari Mohsen; Nahas Farmaniyeh Farzaneh; SOKHANPARDAZ ALI

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Journal: Bunyan-i hunar; justarha-yi muzah/dari, marimmat, bastanshinasi va tarikh-i hunar Year:2024 | Volume:2 | Issue:1 (پیاپی 3) Page(s): 193-218

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Title

The process of approaching treatment in the change of use of South Textile Factory to Yazd Museum of Warp and Weft (The procedure for transitioning the South Textile Factory into the Yazd Museum of Warp and Weft (Tar-o-Pood)

Author(s)

Raie Hosein | Biglari Mohsen | Nahas Farmaniyeh Farzaneh | SOKHANPARDAZ ALI | Issue Writer Certificate

Keywords

Keywords: Industrial heritageQ4

The South Yazd FactoryQ4

Tar-o-Pood MuseumQ4

historical weavingsQ4

Abstract

Abstract More than fifty years after the Second Industrial Revolution, the creation of industrial factories and machine production, in addition to its economic necessities and keeping pace with the modern world, was a sign of the beginning of industrialization and the establishment of progress and development in Iran. One of the most obvious and first ones is the construction and operation of spinning and weaving factories. The South Yazd Factory with an area of about 40 thousand square meters is considered the largest textile production factory, including spinning, weaving, and dyeing in the south and center of the country, and therefore, the title “Jonoub” means south has been considered for it. Its main founder “Reza Sarafzadeh Yazdi”, was one of the wealthy merchants of Yazd and completed the construction of the complex in 1329AH (1950 AD). This collection started working in 1329 AH (1950 AD) and in 1379 AH (2000 AD), its production wheels stopped working. This collection includes various sections such as; The main production hall, the second production hall, the support and production warehouse, the factory warehouse, the Sahara cinema hall, the administrative and welfare building of the employees, and the cooperative store building of the factory. The general area of The South Yazd Factory is about 40,000 square meters, and the main production hall occupies an area of 6,000 square meters. This building is constructed on one floor with dimensions of 92 x 67 meters a rectangular plan with a height of 40.8. It has an underground area of 285 meters, which is located in the northeast corner of the main hall. “Ali Akbar Mojibian”, the architect of “Iqbal” Textile Factory, “Iranshahr” High School, “Barkhordar” Mosque, and “Rasoulian” Mosque, was responsible for the construction of The South Yazd Factory. Despite not being used for a long time, the building of the main production hall of The South Yazd Factory does not have any serious and incurable structural damage. Except for a few cracks in parts of the building that are the result of the breaking of building materials and as a result the breaking of building elements locally; there is no other serious structural damage. The problem with the research is the lack of technical documentation about the physical and functional characteristics of the factory. Therefore, two questions about the characteristics of the work and the method for its preservation and repair are posed, with a historical analysis approach employed to address them. The main concern regarding the "South Factory" is to pay attention to the observance of principles in the process of revitalizing this valuable building. The importance of reusing this complex that has lost its original purpose extends beyond protection. It aligns with the objectives of sustainable development and the preservation of cultural heritage. The proposal to convert the factory into a textile museum aims to showcase the rich history of weaving in the Iranian desert, with a particular focus on Yazd. This use has a functional authenticity of hidden values in the factory. In the recent past, this factory had accepted the production of braids, which have now become a part of the history of clothing in this land and are placed in the ranks of historical braids. Now it has accepted the mission of introducing it. This use has been done with minimal intervention and keeping in mind the originality and integrity of the factory's architecture; In a way, the first goal is to introduce the factory, and the next goal is to introduce the history of woven fabrics. Based on this, the identification of the user category and the anticipated functionalities within the historical structure are contingent upon the parameters established by both the users and guardians of the building. The South Yazd Factory, as a historical monument registered in Iran National Heritage List, requires a suitable attitude in determining the strategy of intervention and the approach to restoration and revitalization of the Warp and Weft (Tar-o-Pood) Museum. Therefore, preserving the originality of the building has been taken into consideration in the first step of the process of revitalizing the South Factory, and in the next step, attention has been paid to the design and integration of new uses according to needs assessment and feasibility studies. In a critical and collaborative process and close contact with the client, the design group considered the South factory building as an industrial heritage museum. After the presence of historical objects and properties, it has been used to transform the work into a fabric museum. He also tried to use modern technology in the ways of presentation and introduction as a useful tool so that the object itself is given priority over the introduction tool. Content design is based on object orientation. Therefore, according to the contents in the reservoirs and the feasibility of obtaining cultural property, the layout scenario was set and zoning was done focusing on historical fabrics, historical carpets, and the introduction of the South Factory. In the body and space section, an open arrangement system was used. When necessary, transparent and semi-transparent separators taken from the architecture of the building were used, and it was decorated with a lighting system that was taken from the light branching from the covers during the day.

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