The Story of the Shrine of the Bab: Vol. 3, 1963-2001: Sacred Stairway

CONTENTS List of Illustrations Preface Acknowledgements The Story So Far PATHWAY 1 Wondrous Result

ix xv xvii xxi 3

Music; lights; amphitheatre; attendees; media coverage; message to participants; responsibility

2 The 1960s

7

Decision by the Universal House of Justice; consultant; funds; projects; climbing of Terraces; significant events

3 The 1970s and 1980s

12

Victory and crisis; influx; gardens expand; war; new lights; under the wings of the Shrine

4 The Temple and the Terraces

18

Temple in India; status agreement; architect appointed; MCBP sets up office

5 Prelude and Inspiration

23

Previous designs; inspiration; iterations; approval; deadline

6 The Design in Detail General features; the Terraces; five special elements: light, colour, water, stone, ornaments

28

sacred stairway

1986–1999: BUILDING THE TERRACES OF LIGHT 7 Dual Projects

37

Dimensions; dual projects; four specific challenges

8 1990: Work Begins

40

Opening prayers; reinforcing Shrine Terrace; new building under Terrace; war has its effect

9 The General and His Team

42

Architect-project manager; deputy; spouse; volunteers; locals

10 1991: Working Despite War

47

Suspension of work; cistern and pool; donations; work on the Shrine

11 1992: Focus on Lower Terraces

49

Earthworks; Knights of Bahá’u’lláh ascend the Terraces; bridge over Abbas Street; World Congress; contracts for upper terraces

12 1993: Upper Terraces

51

Three year plan; site appearance; grading; trucks haul fill; rebalancing; retaining wall; funds; city visitors; German colony

13 1994: Sacrificial Outpouring

55

Message from the Universal House of Justice and funds; planning; Terraces: underground rooms; stone; sculptures, visitors

14 1995: Acceleration on All Fronts

62

Views for locals; promenade; demolition; irrigation; funding crisis; Terrace 11 and bridge; publications; visitors

15 1996: Tapestry of Beauty

71

A stirring message; Hatzionut bridge

16 1997: Change in Organization Contract management; Hatzionut bridge; upper terraces; lower terraces; Templer colony; keeping in touch

vi

78

sacred stairway

17 1998: An Experience for Delegates

85

International Convention; pause to reflect; upper terraces; lower terraces; Hatzionut bridge; VIPs; publications

18 1999: Beauty Recognized

91

Awards and media; major announcement; lower terraces; upper terraces; Hatzionut bridge

2000–2001: COMPLETION 19 2000: Year of Completion

101

Joy and sadness; passing of Amatu’l-Bahá Rúhíyyih Khánum; devotion to a . deadline; upper terraces; lower terraces; the Shrine; gardens; budget

20 2001: Grand Opening

110

Inauguration of Teaching Centre building; Terraces; publicity; arrivals in Haifa; preliminary gatherings; arrivals at the amphitheatre; statement by the Universal House of Justice; musical presentations; a sea of lights; media coverage; ascent; evening events; message to participants; prayers on the Arc; reflection; public visits

21 Footsteps on the Terraces

129

Marble ladder; platforms of wonder; dome; deliberate order; bridge; Terrace 9; Shrine; descent; water; mood; bridge; visits

ANNEXES I Looking Back

135

Architect-project manager; deputy project manager; designer; a project architect; journalist; construction engineer; horticulturalist; a project architect; irrigation engineer; bridge builder; landscaper; gardens manager; secretary; draughtsman and supervisor; storekeeper.

II The Restoration of the Shrine of the Báb, 2005–2011 159 Overview of the decade; prelude to the restoration; the Universal House of Justice initiates the project; work begins; the dome and its golden tiles; finale

Bibliography Notes and References Index

179 183 201 vii

6

THE DESIGN IN DETAIL It was clear from the Master’s description and the Guardian’s construction that any new design would be for a stairway to go up to the Shrine through a series of nine terraces and then to continue behind the Shrine via another series of nine terraces to the peak. Accordingly Mr Sahba produced such a plan, with entrance plazas at the base and the summit.

As he was working on his design, he had to overcome the problem caused by the fact that a major road, Hatzionut Avenue, crossed the slope behind the Shrine. At first sight, this would have prevented a continuity of terraces from the base of Mount Carmel to its summit. An elevated bridge, with steps up to it from the garden behind the Shrine, and down on the other side, would not be a good solution. The architect came up with the idea of lowering the road instead.

Shoghi Effendi had thrown a bridge over Abbas Street in the 1930s but Hatzionut Avenue was a much busier and more significant thoroughfare and was lined with a myriad of communication, water and sewage lines. However, there would be an advantage to the Municipality if the road were lowered just behind the Shrine. As it existed, there was a traffic hazard caused by the road being steep before and after that flat section. If that ‘bump’ in the more or less constant slope were removed and the road lowered by almost five metres, it would become safer.

Not only that, but it later became evident that this would also allow for the widening of the road by an extra lane on the southern edge, a plan of the city since the time of the British Mandate. And it could be done without interfering with the Bahá’í gardens. It would also allow for the ‘Pathway of the Kings’ to continue uninterrupted over the bridge. The task was to convince the Municipality. After an extremely enthusiastic presentation of the idea by Mr Sahba to a city official in the presence of two other Bahá’ís, that official successfully recommended the idea.1 28

the design in detail

There was another problem too. The slope on the upper part of the mountain was dauntingly steep, so how could a stairway work?

A solution arrived: providing two symmetrical flights of stairs on the outer curved borders of the terraces above the Shrine rather than going straight ahead like the terraces below, which would have created impossibly steep stairways. In addition, curved stairways when illuminated would create a halo effect over the Shrine at night. The places where there would be a single stairway on this rear section would maintain the continuity of the centre-line of the Terraces and the sense that there is a staircase going directly to the peak.

The Terraces There were two possible ways to build the Terraces: to build walls and backfill behind to create a platform, as in the design published in the Bahá’í World volume in the 1920s, or to cut into the mountain. Mr Sahba chose the latter. That avoided creating an ascending series of high walls that could take away attention from the Shrine. Instead, with only a small wall in front to indicate the presence of a terrace, he saw the Terraces as sacrificing themselves for the Shrine.

The Terraces would be concave, built into the mountain, and this shape would be extended to the east and west through lines of cypresses interspersed with lanterns. This would create curved lines similar to parts of a circle, the upper terraces hinting at being the top of the circle, the lower terraces the bottom.

In all, they create the impression that if extended they would form nine concentric circles that seem to emanate from the Shrine, yet with the effect of directing attention to the building that is at the very centre.

The architect was inspired by these words of the Guardian: For, just as in the realm of the spirit, the reality of the Báb has been hailed by the Author of the Bahá’í Revelation as ‘The Point round Whom the realities of the Prophets and Messengers revolve,’ so, on this visible plane, His sacred remains constitute the heart and centre of what may be regarded as nine concentric circles, paralleling thereby, and adding further emphasis to the central position accorded by the Founder of our Faith to One ‘from Whom God hath caused to proceed the knowledge of all that was and shall 29

sacred stairway

be,’ ‘the Primal Point from which have been generated all created things.’2

The stairway enters each terrace through ornamental iron gates, flanked by fluted-stone gateposts with ornaments and balustrades whose carved design echoes that of the lancet windows on the drum of the Shrine.

The fountains on the lower terraces are deliberately set to the side so that the stairway leads arrow-like to the Shrine with no obstacle in front of those ascending.

Although each terrace has similarities, they all have unique features, such as special fountains, paving design, benches or ornaments, and incorporate the idea that, although the 18 Letters of the Living together with the Báb would create one ‘váhid’ − a unit of 19 as described in the Bayán, the Báb’s most holy Book − yet each one was an individual with unique character. The architect pondered whether each terrace should be linked to an individual Letter of the Living but did not proceed with the idea. This decision was confirmed by the Universal House of Justice in 1994.3 The Terraces each have three distinct zones. The first is a formal central zone which is accessible to pilgrims and visitors, who can have close-up views of seasonal flowers and ornamental plants of lower height. The formal zone requires maximum care. The second zone to the east and west is a transition area, planted mainly with hardy, drought-resistant groundcover and bushes of medium height, and requires minimum irrigation. This zone then gradually merges with the third zone of high trees and natural forest with no need of any irrigation. This combination provided an overall impression of a vast green area while only a very small portion of it requires irrigation.

In the formal centre section, the staircase arrives at a paved area in an embellished rectangular design. Low fountains and pools flank this paved section. Each terrace has a fountain or fountains, ochre gravel areas with islands of formal gardens of lawn, flowers, shrubs, two canary palm trees4 and lamp-posts reminiscent of those near the Shrine. There are carved stone benches for visitors.

Signature features of the gardens created by Shoghi Effendi are present on the side of the staircase, in the form of duranta hedges, vases of vermilion red geraniums, and globe-shaped lamps. Narrow-stepped channels or runnels carry water down both sides of the stairway, which 30

the design in detail

is lined by cypress trees. Lawns on the sides are shaped in ways to complement and echo the forms of the Terraces.

The bridge over Abbas Street is a platform of the staircase. Cypresses and garden areas adorn its edges. Its garden is very similar to the gardens of the Terraces, and has eight-pointed stars on the lawn.

Five special elements The architect has spoken of the special elements of the design: light, colour, water, stone and ornaments.5 Light ‘The whole concept of the design is centred around light,’ he said. The placement of the lanterns along the Terraces produces the intended impression of waves of light emanating from the highly-illuminated Shrine and creates the nine concentric circles around the edifice, the line of cypresses creating that impression during the day.

The design, he said, with its curved parallel surface of emerald-green lawns, and its rows of dark-green cypresses and the cold grey-green of the olives, sets up the palate on which the sunlight can paint its pictures, the images changing as the day moves on: The deliberate order and rhythm that have been used in all parallel concentric circles provide the comfort and relaxation that will contribute to the creation of a spiritual feeling. While walking towards the terraces all the lines appear to accompany the visitor. They are all in agreement with the visitor, there is no argument, no resistance, only continuity of space. One space merges with another endlessly.

The same principle of water and rhythm is created by the lights at night. Waves of light emanating from the Shrine make them appear as ‘terraces of light, light upon light’.6

The lanterns lining the stairway lead the viewer up to the very source of spiritual illumination, the Shrine of the Báb. And the Shrine with its dome, the architect said, has a magnificent relationship with the sky and with light, ‘and this combination provides different displays of light generating different feelings at every hour of the day’.7 31

End of this sample.

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