aga khan trust and studio KO revitalize tashkent’s 19th-century mahallas as artist residencies

cca launches inaugural artist residencies in tashkent mahallas

In Tashkent’s historic mahallas — ancient neighborhoods rooted in values of community and togetherness — the Aga Khan Trust for Culture and Studio KO have revitalized two heritage sites as contemporary artist residencies. This month, the program led by the Center of Contemporary Arts (CCA) will launch its inaugural cohort, fostering cross-cultural collaboration at both regional and global scales, while speaking to the state’s broader initiative to preserve the Uzbek capital’s historic identity.

The Namuna mahalla site, conceived in the 19th century as a madrasah (school) and mosque complex, embraces its evolution through a balance of preservation and reinterpretation. Volumes of original timber frames, 300-year-old brickwork, and glass and steel interventions form the residency, with a program comprising living spaces, workshops, an exhibition space, and a café. A short journey across the old city into the Khast Imom mahalla, the second residencies are housed within a small former kindergarten. This space reveals the typical spatial typology and sequencing of the mahalla house, configuring rooms that transition from communal to private around a verdant courtyard. Across both sites, Studio KO’s interventions are modestly introduced — either concealed behind a stone wall, or subtly mimicking the vernacular forms in modern materials.

all images courtesy of Center of Contemporary Arts unless stated otherwise

aga khan trust for culture revitalizes 19th century madrasah

The Aga Khan Trust for Culture’s restoration efforts at the Namuna mahalla were largely focused on uncovering and preserving the building’s original features, from its beams and brick masonry to its timber frames and eaves. Chief Executive Officer Ajmal Maiwandi explains that prior to restoration, the iwan-like building at the site’s entrance was in a severe state of decay, with evidence of extensive alterations throughout the 20th century. ‘When we first found it, the building was a carpentry workshop. It been subdivided into smaller rooms, and the mihrab was concealed behind layers of brick,’ he shared while guiding us through the space.

These temporary walls and partitions have been removed to make way for the new exhibition space, revealing the original structure and decorative elements hidden below layers of cement plaster and rendered ceilings. ‘Beneath these modern interventions, we discovered intricate skirting and floral motifs that had been hidden for decades,’ Maiwandi adds. Further, addressing issues that had caused severe decay over time, the roof — likely replaced in the 1930s or 40s — was identified as a key source of water damage to the timber structures below and repaired.

Center of Contemporary Arts launches inaugural artist residencies in Tashkent

studio ko introduces contemporary interventions

Across the courtyard and tucked into vast brick arches, living spaces for the residents have been constructed from a natural palette of wood and brick that retains the site’s authentic character. The exposed facade and interiors are a mixture of original brickwork, three centuries old, alongside some sourced recently from Bukhara, leading into the adjacent stone wall that conceals Studio KO’s contemporary addition. The French studio has created a luminous volume marked by expansive glazing and steel framework to host modern workshops equipped with specialist machinery and a cafe.

The complex also features a terrace, once a community gathering spot, which has been revived as a tea house. Supporting the Center for Contemporary Art’s agenda to cultivate co-creation and the preservation of regional heritage, all restorations have been implemented in collaboration with local builders, carpenters, and masons with a focus on mentorship to a younger generation of craftsmen.

the Aga Khan Trust for Culture and Studio KO have revitalized two heritage sites in Tashkent’s old city

preserving uzbek heritage and creative culture

The residencies host five participants per intake, inviting artists across an array of disciplines to draw inspiration from their context. Seeking to integrate contemporary creativity into Uzbekistan’s historic cultural context, the program encourages engagement with an international network of creatives and mentors, while collaborating with local communities and Uzbek artisans, adopting their traditional craftsmanship and local materials. ‘We want to create something that completely integrates with the community,’ Cryil Zammit, project advisor and consultant, shares at the preview of the residencies.

In Tashkent’s old city, the Namuna mahalla site will continue its educational tradition as an Islamic school and invite residents to create in the spheres of contemporary art, design, crafts, architecture, culinary arts, moving pictures, or sound art. Meanwhile, the Khast Imom mahalla will host just one to two researchers, curators, or writers, while creating Central Asia’s first curatorial library. The Center for Contemporary Art’s Artist Residencies form part of a broader initiative spearheaded by the Uzbekistan Art and Culture Development Foundation (ACDF) which is overseeing the revitalization of the country’s cultural and creative heritage. The foundation’s chairperson, Gayane Umerova, emphasizes the importance of this initiative: ‘By facilitating cross-cultural collaborations, we are helping to create a sustainable ecosystem for the arts that benefits both local and international communities.’