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Mosul, meaning "the link" in Arabic, established itself over 2,500 years as a crossroads for diverse cultures and communities, thanks in particular to its strategic geographical location. The Old City has long preserved its exceptional architectural heritage: a maze of narrow streets, monuments with Islamic and Christian influences, and facades decorated with refined motifs in local alabaster, nicknamed the "marble of Mosul". The city's skyline has long been defined by the distinctive sloping Al-Hadba Minaret and the bell tower of the Convent of Our Lady of the Hour, both of which stand as symbols of this multicultural history.

In 2014, Daech targeted Mosul, looting manuscripts and ancient artefacts, and eradicating all traces of diversity. The result was a devastated territory and a battered population. By the time the fighting to liberate the city ended in July 2017, 80 per cent of the Old City was in ruins. In response, UNESCO Director-General Audrey Azoulay launched the "Revive the Spirit of Mosul" initiative in February 2018, which has since mobilised $115 million and 15 partners, including the United Arab Emirates and the European Union. The initiative is based on three key objectives: rebuilding the heritage, reviving cultural life and supporting education. The reconstruction of the Al-Nouri Mosque, the Al-Tahera Church, the Al-Saa'a Convent and more than 124 historic houses has generated 7,700 jobs and enabled the training of 2,800 craftsmen. The socio-cultural fabric has also been revitalised through the promotion of music and cinema, the rehabilitation of 400 classrooms and the training of more than 5,000 teachers and educators in peace education.

The Al-Tahera Syriac Catholic Church, located in the north-eastern sector of The Old City of Mosul, is part of a group of churches. It overlooks a public space that forms a distinct urban node, onto which most of the entrances to these churches open. 

Al-Tahera Church had a rectangular floor plan with a specific layout: the interior space was divided into three naves covered by barrel vaults, and the main external entrance led to an inner courtyard before entering the church (distinguishing between the women's and men's sections).

As a result of the conflict that ended in 2017, the church suffered extensive destruction: the entire south side of the church has collapsed, the west and east walls were only partially preserved, while the barrel vaults and flat superimposed roof had almost entirely collapsed. As for the annexed cloister, it was in a relatively better situation, as the colonnade and superimposed vaults were still standing.

Examination of the collapsed parts of the building revealed the nature of the complex's load-bearing structure.  After the collapse, which began with the dome above the altar before spreading to other parts of the building, experts studied the affected areas. Among other things, they discovered that the structure was mainly made of split stone and gypsum-based mortar – a type of construction also found in the walls and vaults supporting the roof of the church.

The diversity of materials and techniques used for the columns of the cloister porticoes were also revealed: cement mortar for the west wing, stone surrounding a cement mortar core combined with metal for the east wing, and older squared stone for the north and south porticoes.

Over time, reinforced concrete elements were added to the structure, such as the roof slabs and curbs of the church nave, the beam structure, pillars and staircases. What's more, this research also revealed a depression near the presbytery, as well as the presence of underground water beneath the cloister.

During works carried out by UNESCO, an exceptional archaeological discovery was made at the Al-Nouri Mosque. In August 2021, as workers were inspecting the site to ensure the safety of the foundations, they began excavations near the prayer hall. While working on a part of the floor that had recently been uncovered, they noticed cavities under the floor that led them to a room that was almost completely buried. They then discovered four rooms dating back to the 12th century, probably used for ablutions. Forty workers and archaeologists from the Iraqi National Board of Antiquities and Heritage took part in the excavation. The dating of the rooms was made possible by the discovery of coins from the Atabeg period (12th-13th century). Other ancient objects were also found, including jars, pottery and carved stones. This remarkable archaeological find as incorporated into the architecture of the new Al-Nouri Mosque (which you can consult in the "international competition" section).

The aim of the thermographic study was to analyse anomalies, particularly in the Al-Tahera Complex. It was carried out in "passive mode" on all the internal and external surfaces of the courtyard, the church and the cloister. This made it possible to confirm the presence of detachment, disintegration and flaking. For example, in the  photographs shown, the lower part of the masonry shows a surface temperature up to 10°C higher than the upper part, alerting us to the need for a more thorough examination of this area. 

Research revealed a damaged bas-relief found in the church inside the sacristy. It would appear to be part of a major composition from the former Al-Tahera Church. If this is the case (i.e. if it is not a copy, a hypothesis which is, however, quite unlikely), then it would be a stone panel of great value, which is why it was recommended to carry out its protection and conservation in accordance with the strictest standards.

Archaeology of the built environment involves examining architectural transformations and remodelling. In the study carried out at Al-Tahera, the experts made a number of discoveries. For example, the presence of arches and filled-in openings in the cloister, the surrounding wall and the courtyard revealed successive modifications; indeed, the limestone corner of the south wall suggests that the courtyard is a later addition. We could also mention the traces of alabaster and limestone elements that have been found, providing information on certain re-uses of materials or distinct construction phases. Finally, the functional evolution of the site has also been revealed by the existence of a filled-in portico that opened onto a former street accessible from the cloister. 

UNESCO coordinated an international architectural competition for the reconstruction of the Al-Nouri Mosque Complex. The winning team, comprising four Egyptian partners selected in April 2021, completed the detailed project in May 2022, working with the University of Mosul and local experts. The project was also designed with the help of the people of Mosul, through a survey conducted in 2020 and a public meeting organised in June 2022 to discuss the redesign of the Al-Nouri Mosque’s new spaces. 

This fundamental point is also reflected in the painting above, which depicts Jeremiah, by Giuseppe Porta, nicknamed Salviati. Indeed, this character is intended to symbolise the voice of popular truth and wisdom; that of the local population, which was a key consideration in the design of this project.

The preparatory phase of the rehabilitation of these emblematic monuments was initiated in autumn 2018, thanks to the support of the United Arab Emirates. The initial steps involved the clearance of the damaged site of mines and the removal of all hazardous materials. The rubble was then sieved to identify and preserve any valuable fragments that could be reused in the reconstruction. The structural elements recovered were then stored and restored by the Iraqi Council of Antiquities and Heritage. At the site, experts also carried out structural studies and documented their findings in order to plan reconstruction and restoration. Concurrently, the site was stabilised. A survey of local residents carried out in 2020 revealed that 70% of respondents expressed a preference for the prayer hall of the Al-Nouri Mosque to be rebuilt in its original form, with a number of improvements, including a substantial area for ablutions, administrative rooms and a garden. The exceptional archaeological discovery in August 2021 of four rooms dating from the 12th century (probably used for ablutions) was incorporated into the architecture of the new Al-Nouri Mosque. The Iraqi National Board of Antiquities and Heritage collaborated with UNESCO to renovate, preserve and transform the rooms into a museum, where visitors can now learn about the mosque's history.

The survey of the techniques and materials traditionally used in Mosul was carried out with three specific aims in mind, all of which are likely to maintain the architectural identity and urban values of the historic city: to preserve the skills associated with 'minor' heritage, to serve as a tool for Iraq's State Board of Antiquities and Heritage, to examine and evaluate conservation projects, and finally to pass on and raise awareness of urban heritage knowledge among local technicians and owners.

Indeed, after the events of 2017 and the fighting against Daech that led to the liberation of Mosul, the historic city remained heavily affected, with a high percentage of buildings suffering considerable damage. As well as affecting citizens, the war has had an impact on monuments and much of the "minor" architecture, which, although not considered "monumental", also embodies the city's historical and architectural values. Taken individually, the buildings of the old town are often not of exceptional historical value; taken together, however, they bear witness to a specific local material culture. Together with Mosul's emblematic buildings, they are an essential component in the preservation and revival of the original matrix of the urban system, and contribute to a strong sense of identity.

The Ewan is an important element in the traditional design of the house. It can be defined as a covered space enclosed by three walls with the fourth side open and facing the courtyard of the house.  It is considered the space of summer hospitality and has a double function: to distribute the interior spaces of the house and to provide a cool open area that protects from the summer sun. It is usually designed on a square plan and is located between two rooms; however, in some cases, a third room can be placed behind the rear wall of the Ewan. Access to the rooms of the house is always done from the Ewan.  The opening of the Ewan onto the courtyard takes the shape of an arch; this arch can be pointed, semicircular, or flat. Ewans vary greatly in size, materials used and decoration.

The principal characteristics of the Ewan con be summarized as follow:

• Its function is both social and climatic;

• It has a spatial distribution function;

• It is a vaulted space with a plastered limestone vault;

• Entrances to rooms are placed in the side walls and are usually decorated with alabaster;

• If the rear wall is blind, it is usually adorned with alabaster niches;

• The intrados of the vault is finished with gypsum plaster and may feature colored geometric or floral decorations;

• The outer main arch of the Ewan is often decorated with alabaster decorations that may represent stylized grape-leave or acanthus decorations that are characteristic of Mosul.

• In larger dwellings, it is possible to find more than one Ewan, both on the ground floor and on the upper level.

• Ewan floors are usually paved with alabaster tiles

The survey of the techniques and materials traditionally used in Mosul was carried out with three specific aims in mind, all of which are likely to maintain the architectural identity and urban values of the historic city: preserving the know-how associated with 'minor' heritage, serving as a tool for the SBAH (Iraq's State Board of Antiquities and Heritage) to examine and evaluate conservation projects, and finally passing on and raising awareness of knowledge (concerning urban heritage) among local technicians and owners.

Indeed, after the events of 2017 and the fighting against Daech that led to the liberation of Mosul, the historic city remained heavily affected, with a high percentage of buildings suffering considerable damage. As well as affecting citizens, the war had an impact on monuments and much of the "minor" architecture, which, although not considered "monumental", also embodies the city's historical and architectural values. Taken individually, the buildings of the old town are often not of exceptional historical value; taken together, however, they bear witness to a specific local, urban and architectural culture. Together with Mosul's monumental buildings, they are an essential component in the preservation and revival of the original matrix of the urban system, and contribute to a strong sense of identity.

The Cornille Havard foundry is heir to a long tradition of bell foundries established in Villedieu-les-Poêles since the late Middle Ages. The workshop was founded in 1865 and boasts a rare level of expertise shared by only 30 other foundries in the world. More than just bells, they are true works of art, musical instruments tuned to a specific note.

The foundry was chosen by UNESCO because of its world-renowned craftsmanship, and because it respects the history of the site: the original bells had already been made in France at the end of the 19th century, on the initiative of Empress Eugénie.

A brief history 

In fact, Napoleon III's wife financed the construction of the bell tower – the first in Iraq – in 1881, along with its famous four-dial clock. Since then, this emblematic Mosul clock has given its name to the district, as its chimes have punctuated the lives of its inhabitants for centuries.

A pillar of Mosul's musical and social life and a symbol of the city's religious diversity for almost two centuries, Al-Saa’a Church (Church of the Convent of Our Lady of the Hour) was a beacon for the Christian communities of the Middle East. Nestling in the narrow streets of the Old City of Mosul, the church's clock tower dominates the city skyline, alongside other architectural monuments and minarets. Over the years, it had become a point of orientation, its roots intertwined with the lives and stories of all inhabitants of Mosul, whatever their faith. The clockwork mechanism activated the bells every fifteen minutes.

Much more than an architectural tragedy, the loss of these bells deeply affected all the inhabitants of Mosul. That's why, five years after the liberation of Mosul, the casting of three new bells is synonymous with hope, particularly for the Christian communities of the Middle East.

Cooperation between France and Iraq: an continued and ongoing solidarity

This project also bears witness to the strong mutual support between France and Iraq, which dates back to the 19th century. Construction of the Al-Saa’a Church was first completed in 1873, and its clock, donated by France to Iraq, was built in 1882. Now, two centuries later, in an act of continued solidarity, France is once again expressing its support by creating and donating these bells using the unique skills and craftsmanship of Normandy, a region that knows only too well the ravages of war.

Important information was also uncovered about the structural function of the brick motifs on display. From the analysis of some large 'cut' fragments taken from the remaining part of the minaret, the architects discovered that the decoration was not simply 'applied' to the structural part but rather connected to it. In other words, the architects realised that they had to plan the reconstruction in horizontal layers, which inevitably included the question of the decorative façade.

To produce these decorative motifs, experts had to rely mainly on "indirect documentation": i.e. archive photos, studies carried out by other experts in the past (including those carried out and published by Professor Bruno in the late 1960s), and materials collected from the SBAH (Iraq's State Board of Antiquities and Heritage). All these documents made it possible to 'reconstruct' the motifs, including details such as the decoration of the friezes dividing each panel. 

Finally, other details were clarified through direct observation of the remaining structures (west, north and south sides of the upper base): for example, the fact that the original mortar had been applied at the same level as the bricks, which therefore conditioned the final appearance of the joints. In addition, the colour of the original mortar was also found, and traces of red were discovered by the architects on the first samples taken from the remains of the upper base.

The reconstruction of the Al-Hadba Minaret in Mosul was a complex technical challenge, requiring the integration of traditional and modern construction methods to restore this historic and symbolic monument. The minaret, whose characteristic slope was due to the subsidence of the ground over the centuries, was destroyed in 2017 by Daech, leaving its structure seriously weakened. 

Combining traditional skills with the use of modern techniques

The first challenge was to reproduce the historic inclination of the minaret while preserving its stability, since its original structure is made of terracotta bricks. Rather than completely straightening the minaret, a compromise was found to maintain this slope (1.6 metres over the entire height of the cylinder). This solution was achieved by arranging the rows of bricks in a particular way and using horizontal mortar joints to distribute the stresses evenly. Modern reinforcement techniques were applied to the structure while respecting traditional construction methods.

Selecting materials

As the original minaret was built using bricks and mortar of a particular composition, compatible materials had to be identified for its reconstruction. Tests were carried out to ensure that the current bricks would age in a similar way to the old ones, and that the mortar would offer the same durability. This selection process also ensured that the reconstruction would respect the authenticity and durability of the building.

Stabilisation of foundations

The fragility of the original soil required in-depth geotechnical studies to ensure long-term stability. The base of the minaret, which had collapsed considerably as a result of the explosion, was strengthened using modern foundations, while respecting the historic appearance of the structure.

Involvement of local and international craftsmen

Local craftsmen were involved in rebuilding the masonry, using age-old techniques to re-erect the brick walls of the minaret, preserving the cultural heritage while ensuring the strength of the structure. The project was carried out by a team of international experts, including specialists from the Tower of Pisa, to ensure the minaret's structural solidity, while preserving Mosul's historical and cultural identity. This approach makes its reconstruction a symbol of a fruitful dialogue between tradition and modernity, as well as of fruitful international cooperation.

The "Guidelines for Architectural Interventions on Historic Houses in the Old City of Mosul" are a fundamental element of the Revive the Spirit of Mosul initiative. They were developed by UNESCO and Iraq's State Board of Antiquities and Heritage  as part of the EU-funded project "Reviving the Old Cities of Mosul and Basra"). This large-scale project aimed not only at raising awareness, but also at training and actively engageing local communities in the preservation of their heritage, thereby further supporting the protection and long-term transmission of Mosul's heritage.

The purpose of these Guidelines is to raise awareness among technicians and property owners of the value of the urban heritage that makes the historic city of Mosul unique, and to serve as a  tool for the State Board of Antiquities and Heritage to review and evaluate conservation projects. The Guidelines propose general criteria for architectural interventions on the historical heritage of Mosul that are not based on a rigid interpretation of the historical process affecting the city. Rather, the Guidelines are proposed as a framework for governing the changes that inevitably occur within cities. This flexible approach places the city’s architectural and historical heritage at the center of the discussion on Mosul’s model of development for the future.

Given this premise, the Guidelines address both the conservation and the recovery and reuse of buildings. They offer intervention methods susceptible of maintaining the architectural identity and urban values of the historic city. Their aim is to guide the user of the Guidelines towards a correct reading of traditional Moslawi architecture so that they may better formulate architectural interventions respectful of its historical or heritage value.

By studying the recurrent historical characteristics of Moslawi architecture, the Guidelines analyse the composition of historical buildings from both a material and morphological perspective and propose examples of techniques and materials that belong to a building tradition that should be maintained and safeguarded whenever possible.

Recreating a pool of heritage professionals and craftspeople 

The "Revive the Spirit of Mosul" initiative has created more than 3,500 local jobs in the city. UNESCO launched a training programme to promote youth employment in sectors such as masonry, bricklaying, electricity and carpentry, in which 937 young men and women took part. At the same time, a programme for sculptors of marble, stone and alabaster supported seven small and medium-sized companies under the supervision of the Ministry of Labour and Social Affairs.

With the support of the European Union, UNESCO also launched a vocational training programme (TVET) for adults in Mosul. This programme combined general education, science and technology, and practical skills. It allowed for the training of 2,800 trainees, 18% of whom are women, enabling them to receive certification in construction. 80% went on to take part in work-linked courses in the restoration of historic buildings, improving their chances of finding a job. The programme has generated 7,700 jobs through the reconstruction of historic monuments and houses.

In addition, UNESCO collaborated with ICCROM and the University of Mosul to create a pool of building professionals and heritage craftsmen. Through this programme, 50 local professionals were trained, including as architects and engineers, and 70 craftsmen and women who then actively participated in the restoration work. Local craft skills, such as stone masonry, alabaster restoration and carpentry, were identified to better meet the specific needs of the reconstruction.

In total, more than 1,500 young people were trained in trades such as masonry, carpentry and electricity, creating a skilled workforce for the reconstruction. This programme, supported by the EU, has created 4,800 jobs and is helping to preserve Mosul's heritage while maintaining economic, cultural and social activity.

The rehabilitation of the "House of Prayer" by UNESCO in 2022 was made possible thanks to support from France. This building bordering the convent was transformed into a multi-purpose educational and cultural centre for use by the local community. Works were completed in February 2024.

Over a period of 24 months, a meticulous inventory of the damage suffered was drawn up, documentation on the monument compiled and rehabilitation operations carried out. The work was carried out under UNESCO supervision by local experts in close collaboration with the Dominican Order, the Iraqi State Board of Antiquities and Heritage (SBAH), the governorate of Nineveh, the municipality and the University of Mosul. The aim was not only to rebuild, but also to improve the social cohesion and resilience of the people of Mosul.

The Syriac Catholic Church of Al-Tahera, built between 1859 and 1862, suffered significant damage in 2017. Extensive research was carried out to determine the church's decorative phases, allowing for a restoration using traditional methods. The meticulous restoration of the alabaster surfaces has brought back the original floral motifs. With the support of UNESCO, 13 students from Mosul University, a third of whom are women, were trained in conservation. This initiative has effectively raised awareness among the local population of the importance of protecting the city's cultural heritage by combining heritage conservation with the transfer of know-how.