السبت، 28 أغسطس 2010

Grand Mosque designs for Denmark

Grand Mosque designs for Denmark

 Grand mosque , designs released by BIG

Grand Mosque designs for Denmark
Designs for Denmark's first purpose-built grand mosque have been released by architects Bjarke Ingels Group (BIG) as the local council gave approval to the development plan

Use your dome, new mosques has got traditionalists rattled

Use your dome

Both Muslim and non-Muslim architects are redefining the mosque for a 21st century generation.
Flashing LED towers, aluminium cladding and ornate facades would be a controversial part of any new development, so it is no surprise that their application to new mosques has got traditionalists rattled.

Not that opposition has stopped contemporary architects, both Muslim and non-Muslim, from floating revolutionary new ideas for mosques over the last decade. Many of the new generation feel that religious buildings, which have long been representative of the cities in which they are built, should represent progress as well as tradition.

"What we are doing today is copying the past. The past is a beautiful memory but we can't just copy it for today," explains Emirati architect Omran Al Owais.

Trans-Atlantic MagLev

Trans-Atlantic MagLev

Vacuum Tube Train
 Mika Grondahl

Vacuum Tube Train A 4,000-mph magnetically levitated train could allow you to have lunch in Manhattan and still get to London in time for the theater, despite the 5-hour time difference. It's not impossible: Norway has studied neutrally buoyant tunnels (concluding that they're feasible, though expensive), and Shanghai is running maglev trains to its airport. But supersonic speeds require another critical step: eliminating the air—and therefore air friction—from the train's path. A vacuum would also save the tunnel from the destructive effects of a sonic boom, which, unchecked, could potentially rip the tunnel apart. Mika Grondahl
What: Submerged OCEANIC tunnel and supersonic train

WHERE: New York – London

ربط نيويورك بـ لندن عبر نفق تحت المحيط الأطلنطي

ربط نيويورك بـ لندن عبر نفق تحت المحيط الأطلنطي
تم الإنتهاء من مشروع يربط نيويورك بـ لندن عبر نفق تحت المحيط الأطلنطي
ليس نفقاً للسيارات أو مرور القطار .. وإنما في نهاية الطرفين تليسكوب ذو 6 عدسات كبيرة .. وداخل النفق خط انترنت سريع جداً تديره شركة إيطالية
يقوم هذا الخط بنقل الصورة بين المدينتين
حيث ان الناظر في لندن يمكنه ان يشاهد في نفس اللحظة الواقف في نيويورك .. وبالعكس

نهاية التليسكوب موجودة في لندن عند تاور بريدج .. وفي نيويورك عند بروكلين بريدج

و يمكن للأصدقاء في المدينتين التواصل بينهما من خلال الإشارات فقط .. حيث يتم نقل الصورة دون صوت .. وهو ما يطلقون عليه التواصل الصامت

'Tunnel' links New York to London
It was possibly the most laborious and least informative interview ever conducted.
It took about five minutes, yielded a one-word answer, and gave little real flavour of the subject.
Still - it was conducted using two whiteboards, two marker pens, and it was done over a distance of 3,471 miles (5,585 km).
How? Well there are two answers to that.
If you believe artist and inventor Paul St George then his "Telectroscope" connects New York and London via a (very) long tunnel running through the earth's crust, with the images bouncing back and forth using mirrors.
The other explanation is that it is all done by optical fibres - take your pick.
One end of the "tunnel" emerges next to Tower Bridge on the banks of the Thames in London - the other is next to Brooklyn Bridge on the banks of New York's East River.
It looks like something HG Wells might have imagined.
Each end has a giant telescope-like construction which appears to punch its way out of the earth.
There are dials, and levers, and thermometer gauges on the side of the 20m long brass and wood construction.
Peer into it and you can see people on the other side of the Atlantic.
Wave at them, they wave back at you.
Write on the whiteboard, and ask a question, and they will write back.
It is rather like using a giant web-cam, live streaming (though we are told the internet is not involved and there is no audio connection) between two of the world's biggest cities.
So now you know why the following interview took so long.
Once you have got the whiteboard, and written your message on it, you have to angle it correctly so they can read it over in Europe.
"What is your name?" I wrote.
The stranger at the other end, standing in front of Tower Bridge and surrounded by onlookers, picked up his marker and replied.
"Mik," came back the answer, once he had angled his board correctly.
"Where are you from?"
It is a piece of art, and it's also a sort of curiosity in a public space
Peter Coleman
New York organiser
"What do you think of this?" I asked. (Top journalism, huh?)
"GREAT!" came the reply.
Told you it was informative.
Still it is kind of addictive and mesmerising, which strikes me as strange in a world in which we type, text, and Twitter every day, within seconds, to individuals on the other side of the planet without even thinking about it.
Peter Coleman is the producer for the New York end of the project.
"It is a piece of art, and it's also a sort of curiosity in a public space. London and New York are cities with millions of people.
"They can't believe that those are actually people in another city looking at them. That's what I find all these people are sort of amazed at. It pulls you right into it."
English sarcasm
A group of children from California now cluster round the "Telectroscope" - waving and writing messages to the London end.
"That's so cool - they can see us!" one says as they get a wave back from Tower Bridge.
"They're like way over there, and you're sort of talking to them. This is so much fun!"
A New York policeman stands in front with a message. A man at the other end writes something down.
"How's the band?"
"I'm with the NYPD, not the group The Police," the copper writes back.
English sarcasm clearly does not work down a tunnel.
A New York football fan who presumably supports the English club Chelsea steps up: "Man U. Suck!" he writes.
The view through the "Telectroscope"
Tunnel vision - the view of London from New York
The people in London look perplexed, and a little annoyed to be frank - until someone points out that perhaps to them it reads: "Man, you suck."
Then everyone gets very excited.
There are two women at the London end who are from New York City - they are writing where exactly they come from.
They hold up their sign.
"Bay Ridge Brooklyn, yer, go Bay Ridge!!" the New York crowd shout, and for a moment, two groups of strangers, in two cities thousands of miles apart, jump up and down and smile at one another.

                  Dept. of Architecture E-mail:        emadhanee@yahoo.com
                  University of Mosul
                  Mosul - Iraq
Tel :           +964 (0)770 164 93 74

Iraq Cultural Heritage Conservation Initiative

Iraq Cultural Heritage Conservation Initiative
Project Objectives
The primary objectives of the Iraq Cultural Heritage Conservation Initiative are:

  • to identify and address priorities for the conservation and management of archaeological and architectural sites in Iraq;

  • to develop long-term tools and professional capacities to support the role of the Iraq State Board of Antiquities and Heritage (SBAH) in the stewardship of Iraq's archaeological and architectural sites; and

  • to support conservation and management of archaeological and architectural sites in Iraq.
Project Overview Known as the Cradle of Civilization, Iraq contains more than ten thousand recorded archaeological sites and monuments. In addition, many thousands of sites have not been excavated. Following the 1991 Persian Gulf War, widespread looting decimated hundreds of these sites. Postwar sanctions prohibited Iraq from receiving international assistance, leaving the country's cultural patrimony in the hands of a severely depleted antiquities staff hampered by inadequate expertise and funding.
conservation imageconservation image
conservation image

Project: Aloni


'aloni' by deca architecture
all photos by erieta attali, ed reeve, julia klimi courtesy deca architecture      

greek firm deca architecture designed 'aloni' a house located on the greek island of
antiparos. the design of the house is a dual response to the particular topography
of the site and to the rural domestication techniques that in the past shaped the raw
'cycladic island' landscape.

in the past, dry-rubble stone walls domesticated the land for agricultural purposes
and were the most prominent man-made interventions in the landscape. the walls
retained earth and transformed a steep topography into a series of arable plateaus.
today, the cycladic islands are being reshaped by a very different force: the demand
for holiday homes. the design uses the precedent of earth-retaining stone walls to
create an artificial landscape that is both rural and domestic in use.

the site is a natural saddle where two slopes meet.  in the north-south axis the slope
rises between two hills while in the east-west axis the slope drops, opening to the sea
views. two long stone walls bridge the hills allowing the house to nestle in the space
within while maintaining the continuity of the landscape which flows over it. this simple
strategy blurs the edges of the house and makes its mass imperceptible within the broader
skyline of the island.

the presence of the house is revealed by the four courtyards carved into the flowing landscape.
the courtyards separate the living spaces into five interior areas, an arrangement which
resembles the fifth side of a dice. as a result, the house is protected from the elements,
yet is full of natural light, generous views and a compact but rich relationship to its setting.

the name of the house itself, aloni, refers to the remains of a crop-harvesting circle that was
found and preserved as part of the agricultural past of the site.

The Middle Eastern Geodatabase for Antiquities (MEGA)

Middle Eastern Geodatabase for Antiquities (MEGA) - Jordan
Amman citadel
Project Objectives
The development and implementation of a bilingual Arabic-English, Web-based national geographic information system (GIS) for Jordan's Department of Antiquities (DoA) is the central focus of the Middle Eastern Geodatabase for Antiquities (MEGA)–Jordan project.
The GIS will serve as the primary tool for the DoA in its ongoing work to inventory, monitor, and manage Jordan's vast number of archaeological sites. In the process, it will greatly facilitate the work of DoA leadership and other staff, as well as Jordanian and international scholars, and, ultimately will play an important role in preserving Jordan's archaeological treasures.
Project Overview
The MEGA–Jordan project was launched as a collaboration of the Getty Conservation Institute (GCI) and the World Monuments Fund (WMF) with the DoA for the development and implementation of a GIS to inventory and manage Jordan's numerous archaeological sites.
Interface for MEGA-Jordan database
The DoA, the GCI, and the WMF signed a memorandum of understanding in May 2007 mandating the development of a new GIS, development of which was completed in June 2010.

الجمعة، 27 أغسطس 2010

Project:Cultural connect

Cultural connect
model of 'cultural connect' by rocco design rocco design are one of three finalists who have unveiled their plan for the west kowloon
cultural district competing against
OMA and foster + partners

their plan 'cultural connect' is centred around multiple connectivity. WKCD breaks the isolation
by pedestrian, tram, rail, vehicular, bicycle and ferry links to and from different directions.

two footbridges above austin road connect with the elements and kowloon station. visitors
from the XRL station are greeted by the m+ forecourt, from where they disperse into the streets
and alleys of WKCD. towards the eastern end of the district edged upon canton road, a network
of pedestrian decks draw visitors from yaumatei, jordon, kowloon park and tsim sha tsui into
the district.

the district is also well-served by multiple public transportation systems including buses, taxis, ferries,
the XRL, the airport express and MTR. hopping onto a tram that runs from the star ferry pier to
the district along canton road would be a pleasant alternative. in addition, water taxis bring visitors
from tsim sha tsui, north point, central and wanchai directly to the heart of WKCD.

WKCD is also conveniently plugged into the public road network. multiple vehicular access points
are provided along the northern edge on austin road and number 3 expressway. major drop-off points
and parking facilities are conveniently located for all venues.

cycling is encouraged in WKCD with dedicated cycle track and cycles racks along the promenade.
the track is intended to be connected beyond wkcd to link up with a city-wide network in the future

cultural facilities
public creatives = public art + public design + public event + public engagement
'public creatives' is an initiative within an overall cultural framework. the initiative aims to foster
opportunities for showcasing our local artistic talents, complements audience-building and supports
art education. synergizing the artistic, functional and commercial potentials of our visual art and creative
industries, it brings together public art, public design and public event through various forms of direct
public engagement. 'public creatives' and WKCD are reciprocally beneficial to each other – WKCD
becomes the stage for local artists while their works enrich the qualities of the urban spaces in the district.

الخميس، 26 أغسطس 2010

Project: house 6

House 6
Sudio mk27:

'house 6' by studio mk27 in são paulo, brazil
all images courtesy studio mk27
photos by pedro kok, rômulo fialdini

'House 6' by brazilian architectural practice studio mk27 is a residential dwelling
in são paulo which reinterprets the traditional veranda space. composed of two
volumes stacked on one end, the new outdoor veranda is laid out perpendicularly
to the living space instead of along its length, connecting the two areas on a pivot.

تقدير التراث غير المادي

 تقدير التراث غير المادي
من جولي سكوت، المسؤولة عن الأبحاث الرئيسة، في جامعة مدينة لندن
روى مؤخراً مراسل من "بي بي سي" في بثّ إذاعي قصّة مؤلمة تتعلّق بأشجار براغ. في جزءٍ من براغ خارج المدينة التاريخيّة، قُطعت أشجارٌ يفوق عمرها مئات السنين لفسح المجال أمام أشجارٍ صغيرة ومقاعد وعناصر أخرى محمولة توضع في الشوارع، في إطار إعادة تخصيص ذلك لبناء ملكيّة سكنيّة مترفة. وتبيّن أنّ اعتراضات المقيمين هناك وعرائضهم ذهبت سدىً، فلقد قُطعت الأشجار. إلاّ أن إحدى المقيمين طلبت من منظّمي هذا العمل الإذن بأخذ جزءٍ من إحدى الأشجار للاحتفاظ بها. وافق المنظّمون على هذا الطلب، قائلين لها إنّها في آلّ الأحوال "لا تساوي شيئاً". عندما أظهرت المرأة الشجرة للمراسل من "بي بي سي"، أشارت له بأصبعها إلى الدوائر التي تبيّن عمر الشجرة قائلةً: "تشير هذه الدائرة إلى انهيار الإمبراطورية النمساوية المجرية؛ وهذه هنا إلى إنهاض براغ، أمّا هذه فتشير إلى ربيع براغ". وسألته بعدئذٍ: "كيف يمكن لرابطٍ بهذه الحيويّة والواقعية مع أحداث تاريخ المدينة ألاّ يساوي شيئاً وألاّ يكون له مستقبلٌ؟"
إن تحديد ما يشكّل "التراث" ازداد مع الأخذ بعين الاعتبار مفهومٍ أآثر توسّع ل"التراث غير المادي". لكنّ قصة الأشجار في براغ تركّز على طبيعة التراث غير المادي الواسعة جداً والصعوبات الخاصة بها في ما يتعلّق بالتعرّف عليها وإدارتها وكيفية تقييمها ومن عليه فعل ذلك. أتشكّل أوّلاً الأشجار تراثاً مادياً أو غير مادي؟ بالتأكيد أن ثمّة الكثير من مناطق التلاقي بين ما هو مادي وما هو غير مادي فالذاكرة والأقاصيص والمعرفة الثقافية والانجازات على أنواعها مطبوعة إلى الأبد في المباني وفي صميمها تكمن الأمور الحقيقية وحولها تُلف أنسجة الربط والأهمية والممارسة الثقافية. آما أنّ بناء التراث المادي وصيانته ينبعان من المعرفة والتقنيات والمؤهّلات التي طُوّرت مع الوقت ونُقلت من خلال المعاهد الثقافية التقليديّة،كتعليم المهنة، مع ما تحمله من قيمة غير مادية. وآما عبّر الكثير من الكتّاب، فإنّ مفهوم الإرث بنفسه يدخل في آلّ المعاني والممارسات ومكانة القيم وإلى هذه النقطة بإمكاننا القول أنّ التراث آلّه غير مادي.
من جهةٍ أخرى، ليس من المؤكد إلى أي حدّ يمكن نقل الأفكار والمقاربات الموسّعة والمتعلّقة بترميم الأنصبة والمباني والحفاظ عليها إلى مجال المعرفة والأفكار والممارسات المرتبطة بالتراث غير المادي. وتنبع الاتفاقات المعيارية للتصديق والتصنيف من الممارسات التي تُعنى بتصنيف الأمور وتقييمها وهي مرتبطة إلى حدٍّ بعيد بعملية القياس، حيث تميل التأثيرات إلى تقليص الأشكال الثقافية الحيّة وأذيّتها. وبتعبيرٍ آخر، هذه التعابير الثقافية الأكثر قبولاً لأن تمثل في قائمة لأشكال التراث غير المادي هي نفسها الأٌقرب إلى فكرة التوضيح، مبتعدين بذلك عن طريقة الانتروبولوجيا الثقافية التي تختصّ بالتراث غير المادي. إضافةً إلى ذلك، وُضعت معايير ضمنيّة لتحديد ما يجب أو لا يجب اعتباره تراثاً.
لذلك، فالقوائم الثقافية سيفٌ ذو حدّين، فهي لا تذكر ما يجب حمايته والحفاظ عليه فحسب بل أيضاً ما هو سطحي وبدون قيمة عبر حذفها للأمور المهمّة. في مثل براغ، كانت الأشجار ضحيّة القوائم الثقافية مرّتين. فهي تقع في الوسط بين الأشكال التراثية المادية وغير المادية، آما أن موقعها الخارجي يضعها أيضاً في منزلة غير محدّدة ثقافياً وتاريخياً بعكس ما يحصل في أوساط المدن المشحونة ثقافياً وتاريخياً. في الواقع، هذه الشوارع مرشّحة لأن تشكّل جزءاً من التطوّر والتجديد العمراني لأنّ المواقع الثقافية تتعلّق أآثر فأكثر باستراتيجيات التحديد فيما يرتفع سعر الملكيّات مع الاقتراب من المراكز التراثية.
في كلّ حالةٍ كتلك في موقع جامع الحلا الذي أُنقذ من خطط السلطات البلدية بشأن الصرف الصحي والتحديث بتعيينه موقعاً ثقافياً، بعد الاعتراف الدولي بقيمته التراثية غير المادية. وتكثر الأمثلة في كافة المدن المتوسطيّة حول الفشل في إنقاذ مجتمعات الأحياء الصغيرة التي تحمل التقاليد العمرانية الحيّة والأشكال الاجتماعية التي لم تعد جزءاً من رؤية مستقبل هذه المدن، علماً أنّ هذه الأمكنة الاجتماعية والثقافية المعنية مزوّدة بأنظمة الصرف الصحي و"محدّثة". ومثالٌ آخر على هذه المشكلة هو حالة خطّة بلديّة الفاتح في اسطنبول التي تقضي بهدم منازل المجتمع البدوي "سولوكول" ليحل مكانها مجتمعٍ رفيع المستوى من 620 منزلاً حديثاً بالأسلوب العثماني الحديث في التحضير لاسطنبول، المدينة الأوروبية للثقافة في العام 2010 . واحتجّ البدو والمدافعين عنهم قائلين إنّ ذلك لن يهدّم رابطاً حياً مع إرث المدينة البيزنطي فحسب، بل قدرة هذا المجتمع على الصمود في المستقبل، بما أنّهم لن يتمكّنوا من كسب لقمة عيشهم من الرقص في الأعراس وفي سائر أماكن الترفيه في المدينة.
آما لا يمكن فصل القيم التراثية عن القيم الاقتصادية والثقافية والمجتمعية حيث تُدمج الأولى وتساعد في إعداد الأخرى. إنّ ميل المدن التاريخيّة المتوسطيّة التي كانت في الماضي مراكز إنتاج وسكن وتجارة إلى التحوّل إلى مراكز سياحة واستهلاك لممارسات الهوايات حوّل معه المعنى والقيمة التراثية ووفّر السبل الاقتصاديّة لإنمائها. ويتضمّن ذلك في الوقت نفسه خطر تصنيف المواقع بين "تاريخي" و"غير تاريخي" و"معلّم ثقافياً" و"غير معلّمٍ ثقافياً" و"تراث ذو قيمة" و"تراث بدون قيمة" بطريقةٍ قد يتبيّن أنّها مضرّة لأنواع التراث غير المادي التي يمكن اعتبارها العنصر الحيوي لهذه المدن والتي تحيي الأماكن المتواجدة بين المواقع التاريخيّة. لهذه الأسباب، أرغب في توجيه نصيحة بل محاولة تكييف ممارسات خاصة بالتراث المادي في التراث غير المادي وعدم فرض أساليب معيّنة على التراث المادي آما يعالج التراث غير المادي، الأمر الذي يتبيّن أنّه أسوأ بعد. في هذا الاطار، يُرحّب آلّ ترحيبٍ بالتوازن بين التراث المادي وغير المادي في مشاريع التراث الأوروبي المتوسطي


New Houses - Introduction

One of the most famous Modern residences in the world, a simple volume 'floating' above the ground plane, by celebrated architect Mies van der Rohe:
Farnsworth House
image © gm+ad architects
Farnsworth House, USA

Latest Houses Added Online

House Tumle, Sweden
Johannes Norlander Arkitektur

House Tumle
photo : Rasmus Norlander
Ala Moana, Australia
Omiros One Architecture (O1A)
Ala Moana Hamilton Island
photo from the architect

East of Market House, WA, USA
COOP15, Architects
Enatai House Bellevue
photo © Lara Swimmer
Mountains & Opening House, Japan
EASTERN design office
Mountains &  Opening House Japan
photo : Koichi Torimura
Devoto House, Argentina
Andrés Remy Arquitectos
Casa Devoto
photograph : Alejandro Peral
West Hollywood Residence, California, USA
Studio Pali Fekete architects (SPF:a)
photograph : John Linden

Bateman's Row, London, UK
Theis and Khan
Bateman's Row house
photo : Nick Kane

New Houses - Top Global Selection

Contemporary residence (1998) by Rem Koolhaas / OMA:
Maison Bordeaux
photo: Hans Werlemann
Maison á Bordeaux, France

Striking house from California by XTEN Architecture:
image : Art Gray
Openhouse, USA

One of many finely articulated houses by Marcio Kogan in Brazil:
Paraty  House
photo: Nelson Kon
Paraty House, Brazil

Bold residential design by Atelier Tekuto in Japan
Parabola house
Atelier Tekuto, Photographer : Makoto Yoshida
Parabola house, Japan

Stunning design by one of Europe's most exuberant and talented architects, J Mayer H:
Ludwigsburg house
picture : David Franck Photographie
Dupli.Casa, Germany

The most unusual Japanese house designed in the last decade:
SHELL villa
picture : Nacasa & Partners Inc.
SHELL villa, Japan

One of many fine Portuguese houses by ARX Portugal, Architects
House II in Aroeira
photo : FG + SG - Fotografia de Arquitectura
Contemporary Portuguese House

Beautiful, restrained American property by hMa:
Holley House
photo : Michael Moran
Holley House, USA

Exuberant design near Melbourne by McBride Charles Ryan:
Klein Bottle House
image : John Gollings
Klein Bottle House, Australia

Unusual residence in leafy North London:
House in Highgate Cemetery
photo : Lyndon Douglas
House in Highgate Cemetery, England

Famous Brazilian house with that pool:
Brazilian house
picture : Marcelo Nunes
Slice House, Brazil

Pure form in this South American house by Sebastián Irarrázaval:
La Reserva House
photo : Carlos Eguiguren
La Reserva House, Chile

Sophisticated Spanish property by irish architecture studio:
Ibiza Country House
photograph : Peter Cook
Country House Ibiza, Spain

Small but perfectly formed Alpine residence:
Swiss Alps House
photo © Hannes Henz
Swiss Alps Home, Switzerland

Design by UNStudio, sadly burnt down in 2008:
picture © Christian Richters

Dynamic Australian residence by alex popov & associates:
Whale Beach House
image courtesy of Kraig Carlstrom
Whale Beach House, Australia