Architecture is first and foremost, the combination of three interrelated elements: art, technology, and culture. An architect’s mission is to create and visualize an organized space, via a 2D-3D drawing, corresponding to the premises needs of a given activity, while respecting all the binding or favourable factors.
After the preliminary stage of the documentary research and the usual surveys, the architect will then analyze the physical, regulatory and financial data to draw the basic directions of the construction programme and this before the start of the design work. On the other hand, the ideological orientation of the designer remains decisive as to the optional choices of the project if the client master of the works does not relay them explicitly.
The type of education provided in our architecture schools was supposed to meet the quality and quantity exigences of the national market. This is far from the case at the EPAU (Ecole Polytechnique d’Architecture et d’Urbanisme) of the 1970s. The art of building largely European inspired the type of training offered, thus unsuited to the reality and needs of the country. Foreign teachers with foreign pedagogical support without the slightest anchor to the existence of the public building have made us, inevitably, international architects in our own country and in other words, formed by Europe, for Europe. As proof of this reality, during our various internships in German architectural agencies, we were well-integrated, and our level of competence was relatively satisfactory, (Neufert and Mittag oblige). In addition to national market-oriented training, the contemporary model should not be overlooked and will be integrated into the curriculum. This will give the architect a level of competence that is acceptable on a global scale and will allow him to master the various stages of the design process for an international-style project.
The legal vacuum in the construction sector has severely reduced the curricula of their regulatory content. To this end, a complementary module should have been provided at the end of the course of study in the form of courses documented and presented by specialists from the relevant ministries.
It was not until the Planning Act 90-29 of 1 December 1990 that this void was finally filled. This law was promulgated, for the first time, under the leadership of the very far-sighted political leader, Mouloud Hamrouche.
In the world of work, this inadequate training forced new graduates to endure the vagaries of the profession under the orders of authoritarian directors, “party activists”, state-backed architectural consultants of the time. This situation of weakness was mainly due to the fault in the architect designing technical and regulatory elements specific to the field of the public building for which the latter, freshly graduated, was not or unprepared.
With the passage of time and experience in the field of planning: permits, demolitions and plots, the weak point of the planning files relates to two elements of great importance: integration into the site and planning regulations.
The first element requires respect for the built environment at the architectural level (style, and material) (alignment and height, etc.).
The second element is to master the existing building and urban planning regulations to comply with them without diminishing the architectural quality of the project. For example, the work presented by a colleague shows, at first sight, a small building built on sloping ground. This highly coloured and glazed building shines with its lack of integration within the site, and as a result, it follows a very straight and visually disturbing urban image.
Chirac, then mayor of Paris, had to refuse to grant a building permit to the posterity project presented by Mitterrand because of its unsuited style and appearance for the built environment. Similarly, in Blida, a billionaire had a castle built in a former residential area of the 1950s. The result is shocking because of the incompatibility of styles, an unnatural marriage. He copied a villa in the upscale suburbs of Stockholm and glued it to his property. It’s like building a Moorish house in the middle of Manhattan !!!
In conclusion, I believe that the designer architect, through his project, will impact on the lifestyle of future users; thus, his gesture becomes a social act. Design work must begin with all elements of site integration and current regulation in mind. Respect for general alignments, the heights of the buildings do not exceed the width of the access roads with the H≤L formula due to the sunshine requirements of the facades. Avoid overly greedy ground rights.
The city of tomorrow must be somewhat airy and sunny (sanitary distancing) with large planted or not green spaces. These bouquets of greenery will be the lungs of the city and its places of relaxation and socialization. The dormitory cities are to be banned and replaced by living neighbourhood units, integrating daytime activity, and joining the periphery of urban centres, thus promoting constructive and soothing social relations. Provide quality accompanying equipment related to unit density. The latter should be limited to 150 dwellings max per hectare to allow structural integration (roads, networks and equipment) to the existing urban neighbourhood. Make the most of locally available materials, taking climate change into account. Prefer non-fossil fuels for urban transport. Great importance is to give to non-polluting traffic with a network of bike paths and numerous pedestrian walkways. The narrow alleyways of the former centres will be transformed into a pedestrian zone and decorated with decorative elements planted and removable in case of emergency. Leisure and tourism businesses will be privileged. This view is very sketchy and does not include all the problems related to architecture and urban planning. Besides, the establishment of collective social housing developments will have to be distributed over several external sites following the rules of density and height. Never schedule too much housing construction on the same location. Always split these locations to less than 500 dwellings maximum per site. This beneficial condition will allow the future neighbourhood unit to integrate quickly and easily within the existing urban fabric and will not overwhelm the capacity of the surrounding facilities. Finally, it should be noted that northern Algeria is located on a seismic zone of type 2, medium intensity, therefore subject of periodic and unpredictable seismic movement. This natural characteristic requires respect for a building height not to exceed ranging from R-5 to R-7 to the maximum. Moreover, recent studies on high-rise buildings have shown that the quality of life in a high-rise dwelling is inversely proportional to its distance to the ground. People living on the 15th floor tend to have more chronic diseases than those of the 7th and lower levels.
The typical habit of local authorities to happily substitute for town planning specialists has done a great deal of damage to the development of cities. Decisions involving the future of the city for at least a century should have been discussed with all the specialists in the field: architects, urban planners, and sociologists in order to find the best proposals and thus avoid the disastrous and irreversible effects of unplanned developments. A city council should be created, headed by local officials, and assisted by technicians with proven competence. This council should discuss, request changes, and possibly approve all development plans for the city under a program set out by the PDAU (Plan Directeur d’Aménagement et d’Urbanisme) containing the basic guidelines and itself in line with the regional development plan.
The evening before the crépissage, the annual replastering of the Great Mosque of Djenné, Balphady Yaro is throwing a party for his friends and neighbors in the town’s Konofia neighborhood.
As militant attacks get closer, Katarina Höije tells the story of a Malian town defiantly continuing its annual tradition of replastering a mosque. Here is :
An Ancient Mud Mosque Annually Restored
Rickety plastic chairs and tables line the winding streets around Djenné’s main square, where the mosque looms over the town’s low mud-brick houses. There are plates of riz au grastasty rice with meat and vegetables—and chilled soft drinks. Ivorian Coupé-Décalé music reverberates on soft mud walls. Djenné, a town of about 35,000 in the central region of Mali, is famous for its traditional mud-brick architecture and its UNESCO-protected mosque. Fifty-two feet (16 meters) high and built on a 300-foot-long (90-meter) platform to protect it from flooding, the mosque is the world’s largest mud-brick building.
Young men and boys run down the front steps of the mosque after dropping off baskets of mud. (Photo: Annie Risemberg, The New Traditional)
Touching up its walls each year—crépissage, the French word for ‘plastering’—is a proud and exuberant ritual that involves the whole town. “The crépissage is the most important event of the year, even bigger than Eid al-Fitr, Tabaski (the Malian equivalent of Christmas), and marking the end of Ramadan,” says Yaro, a 30-year-old lawyer and host of the celebration known as ‘la nuit de veille.’ Sitting under a tarpaulin strung between two neem trees, Yaro watches as the crowds sway through the street.
The partygoers won’t sleep until after the event. The revelry will strengthen them ahead of tomorrow’s big task, Yaro claims, sipping a soft drink. “Tonight we party, and tomorrow we will celebrate our mosque and Djenné’s cultural heritage.” The residents of Djenné come together to put a new layer of clay on their mosque every April, just before the rainy season. The crépissage is both a necessary maintenance task to prevent the mosque’s walls from crumbling and an elaborate festival that celebrates Djenné’s heritage, faith, and community. It’s also an act of defiance.
The increasing instability in Mali’s central region—fueled by inter-tribal conflicts and growing numbers of militant and jihadist groups exploiting the absence of state security forces—now threatens Djenné and its sacred annual ritual. Local militants—some linked to the Group for the Support of Islam and Muslims (JNIM), formed by the 2017 merger of several extremist groups operating in Mali—have invaded towns, destroyed markets, and spread their influence in central Mali.
A group of women carrying water needed for the mud mixture. Men and boys are responsible for bringing the mud to the mosque, while and women and girls are tasked with bringing water from the river. (Photo: Annie Risemberg, The New Traditional)
So far, Djenné and its mosque have been spared, but the security situation in the region continues to deteriorate, and more frequent attacks are being carried out in Djenné’s orbit. “We knew that the militants were getting closer to Djenné,” says town chief Sidi Yéya Maiga at his home the day before the crépissage. This year the town council even took the extraordinary step of debating whether or not to cancel their cherished tradition.
In an act of collective resistance, they decided the show must go on. On the day before the crépissage, Nouhoum Touré, the master among Djenné’s 250 masons, heads down to the riverbank to check on the mud that has been left to soak for 20 days.
The crépissage is the most important event in Mali. (Photo: Annie Risemberg, The New Traditional)
It’s the height of the dry season, and the river has shrunk to shallow puddles and inlets. The round pools that store clay until it’s time for the crépissage look like pockmarks on the riverbed. The mud comes from further down the river and is transported here by trucks and donkey carts. Younger masons then break the blocks into smaller chunks and mix them with water. In the final stages, rice husks are added to the mud, turning it into a soft and sticky paste. The rice works like a glue, holding the mud together and keeping it from cracking as it dries. The young masons then carry the mixture, in wicker baskets, to pits in front of the mosque in preparation for the event.
Early in the morning on the long-awaited day of the crépissage, Djenné’s residents gather by the mosque and wait for Touré to smear the first blob of mud on the wall. This is the starting gun.
There is a roar from the crowd as dozens of young men—some masons, some apprentices—run to the mosque. Smaller groups of boys raise wooden ladders against the mosque wall. Carrying wicker baskets full of dripping-wet clay from the pits next to the mosque, the young men begin scrambling up the façade, using ladders to reach the wooden poles protruding from the walls. Perching perilously on the wooden scaffolding, they pick up large blobs of clay and smear them on the walls.
The Djenné mosque the day before the crépissage. (Photo: Annie Risemberg, The New Traditional)
Nientao, the mosque’s guardian, weaves through the crowd, his pockets filled with sweets for the workers. Thousands of muddy feet trample the paths around the mosque. As the sun begins to rise over Djenné, turning shapeless shadows into dark silhouettes, a group of boys and masons tackle the minarets from the roof of the mosque.
Four hours later, the morning sun shines on the newly plastered mosque. Dark, wet clay patches on the dried mud give it a sickly look. Touré is covered in mud all the way from his plastic sandals, which have miraculously stayed on his feet, to the top of his turban. “I think we did very well,” he says, sitting in the shade of the mosque. “Normally, we re-mud the mosque over two days. This time we managed to get it done in only one day.”
Residents carrying mud, from pits to the mosque ahead of the crépissage. (Photo: Annie Risemberg, The New Traditional)
A little later, there is a crack as the loudspeakers come on, then the sound of Djenné’s mayor, Balfine Yaro, clearing his throat. Everyone looks on in silence as he makes his way to the front of the crowd. He declares Djenneka Raws the winning team. Djelika Kantao and Yoboucaïna have prevailed. For the winners, there is pride, honor, and a cash prize of 50,000 West African francs, or about $90 (€80). “With the money,” says Kantao, beaming with pride, “I will buy new solar panels for the neighborhood, so we no longer have to live in darkness.”
Delve into a world of traditions being kept alive unique individuals through The New Traditional. This story and images are featured in the book.
The Massachusetts Institute of Technology asking Why the Mediterranean is a climate change hotspot came up with A new analysis uncovers the basis of the severe rainfall declines predicted by many models.
17 June 2020
Although global climate models vary in many ways, they agree on this: The Mediterranean region will be significantly drier in coming decades, potentially seeing 40 percent less precipitation during the winter rainy season.
An analysis by researchers at MIT has now found the underlying mechanisms that explain the anomalous effects in this region, especially in the Middle East and in northwest Africa. The analysis could help refine the models and add certainty to their projections, which have significant implications for the management of water resources and agriculture in the region.
The study, published last week in the Journal of Climate, was carried out by MIT graduate student Alexandre Tuel and professor of civil and environmental engineering Elfatih Eltahir.
The different global circulation models of the Earth’s changing climate agree that temperatures virtually everywhere will increase, and in most places so will rainfall, in part because warmer air can carry more water vapor. However, “There is one major exception, and that is the Mediterranean area,” Eltahir says, which shows the greatest decline of projected rainfall of any landmass on Earth.
“With all their differences, the models all seem to agree that this is going to happen,” he says, although they differ on the amount of the decline, ranging from 10 percent to 60 percent. But nobody had previously been able to explain why.
Tuel and Eltahir found that this projected drying of the Mediterranean region is a result of the confluence of two different effects of a warming climate: a change in the dynamics of upper atmosphere circulation and a reduction in the temperature difference between land and sea. Neither factor by itself would be sufficient to account for the anomalous reduction in rainfall, but in combination the two phenomena can fully account for the unique drying trend seen in the models.
The first effect is a large-scale phenomenon, related to powerful high-altitude winds called the midlatitude jet stream, which drive a strong, steady west-to-east weather pattern across Europe, Asia, and North America. Tuel says the models show that “one of the robust things that happens with climate change is that as you increase the global temperature, you’re going to increase the strength of these midlatitude jets.”
But in the Northern Hemisphere, those winds run into obstacles, with mountain ranges including the Rockies, Alps, and Himalayas, and these collectively impart a kind of wave pattern onto this steady circulation, resulting in alternating zones of higher and lower air pressure. High pressure is associated with clear, dry air, and low pressure with wetter air and storm systems. But as the air gets warmer, this wave pattern gets altered.
“It just happened that the geography of where the Mediterranean is, and where the mountains are, impacts the pattern of air flow high in the atmosphere in a way that creates a high pressure area over the Mediterranean,” Tuel explains. That high-pressure area creates a dry zone with little precipitation.
However, that effect alone can’t account for the projected Mediterranean drying. That requires the addition of a second mechanism, the reduction of the temperature difference between land and sea. That difference, which helps to drive winds, will also be greatly reduced by climate change, because the land is warming up much faster than the seas.
“What’s really different about the Mediterranean compared to other regions is the geography,” Tuel says. “Basically, you have a big sea enclosed by continents, which doesn’t really occur anywhere else in the world.” While models show the surrounding landmasses warming by 3 to 4 degrees Celsius over the coming century, the sea itself will only warm by about 2 degrees or so. “Basically, the difference between the water and the land becomes a smaller with time,” he says.
That, in turn, amplifies the pressure differential, adding to the high-pressure area that drives a clockwise circulation pattern of winds surrounding the Mediterranean basin. And because of the specifics of local topography, projections show the two areas hardest hit by the drying trend will be the northwest Africa, including Morocco, and the eastern Mediterranean region, including Turkey and the Levant.
That trend is not just a projection, but has already become apparent in recent climate trends across the Middle East and western North Africa, the researchers say. “These are areas where we already detect declines in precipitation,” Eltahir says. It’s possible that these rainfall declines in an already parched region may even have contributed to the political unrest in the region, he says.
“We document from the observed record of precipitation that this eastern part has already experienced a significant decline of precipitation,” Eltahir says. The fact that the underlying physical processes are now understood will help to ensure that these projections should be taken seriously by planners in the region, he says. It will provide much greater confidence, he says, by enabling them “to understand the exact mechanisms by which that change is going to happen.”
Eltahir has been working with government agencies in Morocco to help them translate this information into concrete planning. “We are trying to take these projections and see what would be the impacts on availability of water,” he says. “That potentially will have a lot of impact on how Morocco plans its water resources, and also how they could develop technologies that could help them alleviate those impacts through better management of water at the field scale, or maybe through precision agriculture using higher technology.”
The work was supported by the collaborative research program between Université Mohamed VI Polytechnique in Morocco and MIT.
Building post of 19 June 2020 by Dave Rogers, Elizabeth Hopkirk elaborates on one of the consequences of the current conjecture as Zaha Hadid warns coronavirus could hit profit
Impact on cashflow could become more significant in coming months, say directorsSHOW FULLSCREEN
Zaha Hadid has become the first architect to warn of the impact covid-19 could have on its bottom line.
In accounts filed at Companies House for Zaha Hadid Holdings, which were signed off on 27 May by director Brian Clarke, the practice said: “The impact [of covid-19] on the business to date has been relatively minor in terms of current profitability and cashflow, however, this may be more significant over the coming months.”
Source: Laurian Ghinitoiu Zaha Hadid Architects’ Opus hotel and flats in Dubai. The ME Hotel opened in the building this year.
It added: “The company and wider group is able to utilise covid-19 governmental support, can reduce costs in line with sales and has available external credit facilities that are yet to be fully utilised.”
The firm, which said competition for UK work was “currently very challenging”, also flagged worries over how many staff it could recruit from overseas to work at its London office.
It said: “There is considerable uncertainty on the post-Brexit visa arrangements for skilled persons moving to and working in the UK.”
In April, Eric Parry warned that his staff could not work from home indefinitely without productivity being hit.
Zaha Hadid Holdings’ turnover in the year to April 2019 jumped one third to £62m but pre-tax profit slipped from £4.8m to £1.9m. The firm said it had been hit by exceptional costs of £2.6m which it said were non-project legal and consulting fees.
The practice is locked in a legal wrangle, with one director, Patrik Schumacher, pitted against his fellow executors of Zaha Hadid’s will.
The directors estimate the value of the firm’s head office, Bowling Green Lane in Clerkenwell, to be £11m while Shad Thames, the former home of the Design Museum which it aquired to house the Zaha Hadid Foundation in 2013, had increased in value to £7.25m since tenants were found, they said. The accounts said the firm also sold three properties in the US last year.
The accounts, which paint a similar picture to those issued by subsidiary Zaha Hadid Limited in April, also said headcount rose 17% in the year to the end of April 2019, from 361 to 424.
In April a spokesman for the practice said a small number of staff had been furloughed but that there had been no redundancies or pay cuts. It was also planning to recruit more staff in China where it had won new work.
WEBWIRE in its 17 June 2020 article on GE Renewable Energy, COBOD and LafargeHolcim co-develop record-tall wind turbine towers with 3D-printed concrete bases dated Wednesday, June 17, 2020 could a definite step forward on the way towards clean energy.
Historic multi-year collaboration between three leaders in their industry to increase renewable energy production and use
Wind turbine towers have typically been limited to a height of under 100 meters, as they are traditionally built in steel or precast concrete
Printing the base directly on-site with 3D-printed concrete technology will enable the creation of larger bases and cost-effective taller hybrid towers, reaching up to 200 meters
Taller towers capture stronger winds, thereby generating more energy at a lower cost
First prototype successfully printed in October 2019
GE Renewable Energy, COBOD and LafargeHolcim announced today that they will partner to co-develop wind turbines with optimized 3D printed concrete bases, reaching record heights up to 200 meters. The three partners will undertake a multi-year collaboration to develop this innovative solution, which will increase renewable energy production while lowering the Levelized Cost of Energy (LCOE) and optimizing construction costs. The partners will produce ultimately a wind turbine prototype with a printed pedestal, and a production ready printer and materials range to scale up production. The first prototype, a 10-meter high tower pedestal, was successfully printed in October 2019 in Copenhagen. By exploring ways to economically develop taller towers that capture stronger winds, the three partners aim to generate more renewable energy per turbine.
Building on the industry-leading expertise of each partner, this collaboration aims to accelerate the access and use of renewable energy worldwide. GE Renewable Energy will provide expertise related to the design, manufacture and commercialization of wind turbines, COBOD will focus on the robotics automation and 3D printing and LafargeHolcim will design the tailor-made concrete material, its processing and application.
“Concrete 3D printing is a very promising technology for us, as its incredible design flexibility expands the realm of construction possibilities. Being both a user and promoter of clean energy, we are delighted to be putting our material and design expertise to work in this groundbreaking project, enabling cost efficient construction of tall wind turbine towers and accelerating access to renewable energy,” explained Edelio Bermejo, Head of R&D for LafargeHolcim.
Henrik Lund-Nielsen, founder of COBOD International A/S added: “We are extremely proud to be working with world-class companies like GE Renewable Energy and LafargeHolcim. With our groundbreaking 3D printing technology combined with the competence and resources of our partners, we are convinced that this disruptive move within the wind turbines industry will help drive lower costs and faster execution times, to benefit customers and lower the CO2 footprint from the production of energy.
“3D printing is in GE’s DNA and we believe that Large Format Additive Manufacturing will bring disruptive potential to the Wind Industry. Concrete printing has advanced significantly over the last five years and we believe is getting closer to have real application in the industrial world. We are committed to taking full advantage of this technology both from the design flexibility it allows as well as for the logistic simplification it enables on such massive components,” said Matteo Bellucci Advanced Manufacturing Technology Leader for GE Renewable Energy.
Traditionally built in steel or precast concrete, wind turbine towers have typically been limited to a height of under 100 meters, as the width of the base cannot exceed the 4.5-meter diameter that can be transported by road, without excessive additional costs. Printing a variable height base directly on-site with 3D-printed concrete technology will enable the construction of towers up to 150 to 200 meters tall. Typically, a 5 MW turbine at 80 meters generates, yearly, 15.1 GWh. In comparison, the same turbine at 160 meters would generate 20.2 GWh, or more than 33% extra power.
About LafargeHolcim LafargeHolcim is the global leader in building materials and solutions and active in four business segments: Cement, Aggregates, Ready-Mix Concrete and Solutions & Products. Its ambition is to lead the industry in reducing carbon emissions and shifting towards low-carbon construction. With the strongest R&D organization in the industry, the company seeks to constantly introduce and promote high-quality and sustainable building materials and solutions to its customers worldwide – whether individual homebuilders or developers of major infrastructure projects. LafargeHolcim employs over 70,000 employees in over 70 countries and has a portfolio that is equally balanced between developing and mature markets.
About COBOD International A/S COBOD International is a globally leading 3D construction printing company, supplying 3D construction printing technology to customers in Asia, The Middle East, Europe and the US. COBOD intent to disrupt the construction industry and any industry where concrete structures are being applied. COBOD has made headlines multiple times the last couple of years from the 3D printing of the first fully permitted building in Europe in 2017, over the delivery of the largest construction printer in the world measuring 27 meters in length and 10 meter in height to the live 3D printing of a small house per day during the Bautec, a German construction exhibition. German Peri Group, the leading provider of manual concrete casting form work equipment is a minority shareholder of COBOD. Follow us on www.COBOD.com
About GE Renewable Energy GE Renewable Energy is a $15 billion business which combines one of the broadest portfolios in the renewable energy industry to provide end-to-end solutions for our customers demanding reliable and affordable green power. Combining onshore and offshore wind, blades, hydro, storage, utility-scale solar, and grid solutions as well as hybrid renewables and digital services offerings, GE Renewable Energy has installed more than 400+ gigawatts of clean renewable energy and equipped more than 90 percent of utilities worldwide with its grid solutions. With nearly 40,000 employees present in more than 80 countries, GE Renewable Energy creates value for customers seeking to power the world with affordable, reliable and sustainable green electrons.
Mirna Abdulaal in Egyptian Streets suggests that only some ‘Radical’: Empowering Creative Youth and Local Designers in the Arab Region could awaken the currently dormant creation movement, particularly that in the art and design.
There’s one thing that unites generally all creative youth in the MENA region: their lack of representation and trouble in finding a platform that documents their story for others to see, hear and share.
Act 1 featuring Malak El Husseiny. Captured and Edited by Maryam Nafie.
Most media platforms and magazines in the region often fail to represent creatives, and particularly creative youth, through visual and imaginative presentations that help to truly capture their story. The concept of creative journalism and using art, aesthetics, powerful images and podcasts to brand a particular designer or artist is very much absent, with most resorting to mere commercial and celebrity-focused features rather than stories and dialogues to push the creative scene forward.
Nour Hassan, writer and founder of the platform ‘Radical Contemporary’, is the first to recognize this gap and introduce new understandings of how we can represent creatives in media and journalism. “When I started radical, I didn’t have any reference or any online magazine that gathers all creatives together, and it takes a lot of research. So I wanted to help people avoid what I faced in the beginning through this platform,” she says.
“If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask?”
Initially founded in 2017 as an online magazine that speaks about fashion, art and culture, Hassan began to branch out and do further projects, such as photoshoots, production, and podcasts. Eventually, she expanded into PR and creative consulting, growing from a magazine to a platform that also helps build and market brands.
For her, it is more than just representation, it is also creation – a ‘radical’ and creative process that aims to fundamentally change something in society or culture. In one of her projects, ‘Runaway Love’, she combines storytelling and visual journalism in an attempt to touch upon certain issues, such as the pressure of marriage for young girls. “It was shot on a Felucca boat and it talked about how young girls are pressured to get married, and how she is trying to escape that pressure by riding the Felucca. The photoshoot is a story that is also relevant to the culture,” she notes.
‘Runaway Love’ by Radical Contemporary. Photographed by Ahmed Gaafar
“I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region.”
Coming from Egypt and growing up in Saudi Arabia, she noticed that there also aren’t any important dialogues and conversations being done on the work of young creatives across the region, which led her to launch ‘The Radical Contemporary Podcast’, allowing several creatives to speak about their creative process and provide a space for others to learn and grow. “I am making sure we have conversations, and this is important because there isn’t really any dialogue on creatives in the region and their work,” she tells Egyptian Streets, “If you want to know who is the best designer in Saudi Arabia, where would you look or who would you ask? And so, this is where I come in and bring them to let them talk in the podcast.”
In times of fast-paced communication and the growth of digital media, consuming content for longer periods of time has become even more difficult, which is why it has become ever more imperative for platforms to push creative journalism ahead and utilize podcasting effectively. “Podcasting is the future of content, it is the new radio,” Hassan says, “Right now, we cannot consume content for more than 15 seconds, so a podcast is like an alternative that helps you listen to the conversations even while you’re busy doing other things. It’s a different way of learning.”
“CLUB KIDS”, a Radical project in collaboration with Bardo Clubhouse. Photographed by Mohsen Othman.
“Podcasting is the future of content, it is the new radio”
It is also a way to introduce more critical conversations in the creative industry, particularly as the fashion industry continues to grow exponentially and young designers are entering the scene. “Our biggest problem is that we don’t have critics. We don’t have someone who critiques the work that is being produced, which is really important in helping young creatives grow and reach their potential. We need to work on being more critical and having critical conversations so we can develop,” she adds.
While it is easy to compare this to other magazines such as Vogue Arabia, Radical Contemporary goes even beyond that, as it is focused on building the creative soul in the region. It is expressive, visual, critical, and communicative – providing creatives an opportunity to learn and document their work. “I think we are the first generation telling our story. From the times of Umm Kalthoum up till now, there is this huge gap, and I don’t think there was a generation before us that really documented their work for others to find and look at.”
“I think we are the first generation telling our story.”
On top of that, it is also supporting local and regional brands, concerning that there is a lack of access to platforms that represent them. “At a time right now where it can be very hard for brands to survive, it is important to support our platform and in turn support these regional brands,” Hassan says.
For future writers, designers, artists, photographers and just about every creative in the region, Radical Contemporary represents the heart of their growth and expression in the rapidly changing region of the Middle East. It represents the face of a new generation, and a new region.
In Architects Doing their Bit: 5 Architecture-Related Organisations for Emergency Response written by Andreea Cutieru, all architecturally conscious people’s movements dynamics are judiciously enumerated.
Architecture can be a tool for social change, and the belief in this statement is what motivates the work of many architectural NGOs who strive to address the lack of adequate shelter, generate social and economic change, and build resilience in communities. These NGOs operate in two major areas, disaster relief, and community development, with many organisations pursuing both types of actions. This article rounds-up several architecture-related foundations that act in emergencies, covering their expertise, past involvement in humanitarian crises, as well as the means to join them in their efforts.
Natural disasters affect more than 250 million people each year, and according to UNHCR statistics, 70.8 million people have been displaced worldwide due to conflict and violence. One billion people live in slums, and the number is expected to grow to two billion by 2030. Add the lack of clean water and sanitation, and you have a comprehensive picture of a silent humanitarian crisis, with the need for adequate shelter at its core. Nonetheless, NGOs aside, the profession has recently started to reclaim its social responsibility, as more and more architects engage with humanitarian architecture. For those looking for ways to use their professional skills for the betterment of society, these NGOs are an excellent place to start.
The well-established non-profit housing organisation works to help vulnerable communities overcome the lack of adequate shelter. Created in 1976, the foundation works in over 70 countries and since its inception has helped more than 29 million people attain a suitable home. The organisation pursues its vision of affordable, decent housing for everyone in several different ways. In a participatory process, volunteers and future dwellers work together, creating suitable housing solutions, in the form of new construction or repairs and improvements to existing homes. Habitat for Humanity also participates in disaster response, through its dedicated program and addresses the need for sanitation and clean water by creating the necessary infrastructure. From local, long-term or as part of an event, there are several types of volunteering with Habitat for Humanity, which are covered in detail here.
Architectes de l’Urgence
Nepal School. Image Courtesy of Architectes de l’Urgence
Founded in 2001, the NGO Architectes de l’Urgence (AU) focuses on re-establishing essential infrastructure (hospitals, schools, water supply, roads) in post-disaster situations. With branches in France, Canada and Switzerland, the organisation benefits from 19 years of experience with more than 30 reconstruction programs in 33 countries. Since its inception, over 1600 architects, engineers and additional support staff have participated in AU’s diverse aid initiatives. Most of their projects are not limited to immediate post-disaster response but incorporate rebuilding strategies stretching over several years. To catch a glimpse of their sustained endeavour, over the course of eight years, AU has rebuilt 12 healthcare facilities, 12 schools, one orphanage and over 1500 houses in Haiti, following the devastating tsunami. The organisation also helped in the Philippines, Sri Lanka, or Afghanistan. The foundation recruits architects and civil engineers on a regular basis for international solidarity missions. The type of involvement varies, from student internships, long-term volunteer work, short missions for experienced professionals. All information regarding requirements, recruitment process and forms of participation is available here.
Open Architecture Collaborative
Collège Mixte Le Bon Berger. Image Courtesy of Architecture for Humanity
Open Architecture Collaborative is, to some extent, a successor to Architecture for Humanity. The latter filed for bankruptcy in 2015, stirring some controversy, but several of its international chapters picked up the pieces of the organisation, drew knowledge from the 16 years of experience with humanitarian architecture and created a new organism. The NGO’s philosophy is rooted in participatory design and its mission is achieving community engagement for marginalised people through architectural means. The new organisation is still in its infancy, but it derives its know-how from AfH’s successful past initiatives, like the Haiti rebuilding program. The NGO now focuses on local, small-scale projects like the Kids Skating Series in Nigeria. For information on how to get involved with the organisation, whether as a design firm or an individual volunteer visit their dedicated page.
The NGO focusses on aiding socially vulnerable communities around the globe who are dealing with crises or face inequality of any kind. Regarding architecture as the embodiment of a universal human right, their mission centres around resilience, be it social, economic, or environmental. Founded in 2015 in Denmark and with sister organisations in Santiago de Chile and Rome, Emergency Architecture & Human Rights has completed various humanitarian projects in Europe, Africa, the Middle East and South America. Within the NGO’s initiatives, the EAHR team, volunteers and the local communities work side by side to design and construct projects such as the school in the Za’atari Refugee Camp in Jordan. The organisation focuses on working with the communities, using locally sourced materials, while advancing local construction methods. In addition, the foundation held workshops on architecture for humanitarian emergencies at several universities around the world. For upcoming internships and volunteer opportunities, get in touch with the organisation using the information provided on their website.
Architecture Sans Frontières International
Resilience by Design in Cartagena. Image Courtesy of ASF UK
This collaborative network of NGOs brings together more than 20 independent organisations in an effort to consolidate their individual endeavours. The history of the network began in 1979, with the creation of Architectes Sans Frontières in France, followed 13 years later by the namesake organisation in Spain. Now spread across 30 countries on all five continents, ASF International creates a framework for cooperation among the different entities and assists in the formation of new local organisations. With the stated mission of improving the built environment for people in need, all member foundations work for community development and engage in post-disaster and relief interventions. Each organisation has its own recruitment process and provides various types of volunteering and involvement for individuals who are interested in helping disadvantaged communities. See the complete list of member organisations and get in touch with any of them here.
World Cement, published by Emily Thomas, Editorial Assistant draws a picture of the MENA region related Construction industry updates from GlobalData.
GlobalData shares its forecasts for construction industries across the world in the midst of the coronavirus pandemic.
The revised and further-cut construction output growth forecast for the Middle East and North Africa (MENA) region for the year 2020 is -1.1%, down from the previous projection of -0.8% (as of mid-April) and 4.6% (Q4 2019 update) due to the soaring COVID-19 cases in the region, and the subsequent curfews and lockdown measures, according to GlobalData, a leading data and analytics company.
Yasmine Ghozzi, Economist at GlobalData, says: “The slump in oil prices will dent the sector’s growth. GlobalData expects cutbacks in spending and, in particular, cuts to capital spending on infrastructure, especially for oil and gas dependent countries given that investment plans were set on assumptions for oil at US$50 – US$80 per barrel. The IMF currently predicts that GDP growth in the MENA region will fall to – 3.3% in 2020 because of its exposure to lower oil prices and the extensive disruption in travel and tourism.”
Governments across the MENA region offered direct support to boost activity in construction and infrastructure. In the case of Egypt, for example, the government guided construction companies operating in public projects are set to resume work in full capacity by early April, following a period of two weeks of reduced business.
For Saudi Arabia, the biggest construction market in the region, the country’s finance minister announced plans to make deep cuts to public spending, so any further stimulus to the construction sector would rely on the amount of reserves the government is willing to draw upon, given the limit that lower oil prices have put on government revenues.
It remains to be seen whether governments in the region will lend direct support to companies facing acute financial pressure in the sector.
Ghozzi concludes: “In addition, construction, real estate, and oil and gas sectors are among the most exposed to the business risks created by COVID-19. Force majeure clauses in contracts are being more widely used by firms needing to scale back or rearrange their business plans amid the pandemic. The issue came under the spotlight when the Iraqi government announced the pandemic as an event of force majeure for all projects and contracts. Although construction sites are generally exempted from the lockdowns imposed in many countries in the MENA region, there is an expectation that legal claims, especially from contractors, will be filed citing the crisis as a justifiable reason for failure to deliver work on time.”
Construction is the well-known process for men of building houses with some unskilled labours. Thank you for reading the misconcepted sentence. Yes, It’s often seen with an eye of simplicity and frivolous job, which isn’t. We are in much of society’s mindset that a myth is more nurtured than a fact.
Call me old fashioned, but I believe there’s something to be said for doing good, honest work. Construction is sort of the unsung hero of our culture; vital to our infrastructure. Skilled tradesmen build the places we work in, the homes we live and play in, the roads we commute on, and more. Economy’s strength is tightly linked to the construction industry keeping country to move forward. A construction site is moreover different from a person sitting in front of laptop obeying a 9 to 5 cubicle job; it’s an area of daily new challenges to pass on to the next level. It requires a diversity of skills employing everyone deserving to choose as a career.
This is a technical journey of any structure or thoughts right from the foundation to finishing and external works. In building construction, we study how the civil works are carried out in the field after they have been planned by an architect and structurally designed by an engineer. A toddler whenever points his finger towards the swinging tower crane enjoying like the dance of a robot, it’s the duty of the project team to work successfully building block by block over heights.
As we are talking about the heights, so let me take you to the most heighted man-made structure! No required nominees, it’s Burj Khalifa, Dubai (or you can even argue with one of the most famous buildings because 830 metres is really a good number).
Burj Khalifa, Dubai (source: internet)
Heard about World One? A structure finding it’s place to be the tallest residential skyscraper, yet under construction of Lodha group, Mumbai.
World One, Mumbai (source: internet)
I’ve my stomach full with all these heights as you will mostly get in my next blog; until then let’s see some amazing constructions. The great man-made river project in Libya has listed as the biggest irrigation project in the world. Underneath of the Sahara Desert, it consists of 2800 pipes carrying 6.5 million cubic metres of freshwater every day.
Great man-made River, Libya (source: internet)
The most beautiful building in Jakarta, Regatta Hotel complex was designed by Atelier Enam. The project’s centrepiece is the aerodynamic hotel itself that overlooks the Java sea. Now wondered that struggle to be in top 10 beautiful buildings!
Hotel Regatta, Jakarta (source: internet)
But, who knew that continuous endless building of structures would permit to cease for a no while. Because of the nature of his projects, all industries and companies are surged down to a force majeure. The workers are avoiding the work at construction sites due to fear of coronavirus infection. Threatening situations are discovered due to this pandemic endangering future of the construction world.
People are particularly trying to reach out finding alternatives as I mentioned in my previous blog (A virus outside the computer). Also, many cities have adopted a definition of essential construction that allows any work necessary to build, operate, maintain or manufacture essential infrastructure without limitation construction or the constructions required in response to this public health emergency, hospital constructions, etc.
According to the industry body, there are around 20,000 ongoing projects across the country and construction work is being undertaken in around 18,000 of them i.e. involvement of workforce of about 8.5 million in construction work alone! These numbers are breath-taking when health concerns. The scenario implies that the construction work will be slow, pushing costs upward given the interest and debt servicing needed for that extra period. Definitely it will have its own consequences but would be better far than doing nothing. Hoping the same as everyone to defeat this monster, hiding myself from the fact that I’m bored writing about it ; )
Prior to the coronavirus (COVID-19) outbreak, leading data and analytics company GlobalData had predicted that there would be an acceleration in the pace of growth in the global construction industry, but given the severe disruption in China and other leading economies worldwide following the outbreak, the forecast for growth in 2020 has now been revised down to 0.5% (from 3.1 per cent previously).
The current forecast assumes that the outbreak is contained across all major markets by the end of the second quarter, following which, conditions would allow for a return to normalcy in terms of economic activity and freedom of movement in the second half of the year. However, there will be a lingering and potentially heavy impact on private investment owing to the financial toll that was inflicted upon businesses and investors across a wide range of sectors, stated the top analytics company in its ‘Global Construction Outlook to 2024 – COVID-19 Impact’ report.
While growth in 2021 will be marginally higher than previously expected owing to the projected rebound (and high year-on-year growth rate) in the first half of next year, in the event that the spread of the virus continues into the second half of 2020, further downward revisions to the growth outlook are likely, it added.
Danny Richards, the lead economist at GlobalData, said:
“With extreme quarantine measures including lockdowns of entire countries as well as international travel restrictions being imposed across many major economies, the supply shock is expected to dampen economic activity.”
“The direct impact on construction has been the halting of work with labour unable to get to sites or because of disruption in the delivery of key materials and equipment,” he noted.
“More generally, the construction industry will be heavily affected by the expected widespread disruption to economic activity and a likely drop in investment, with planned projects being delayed or cancelled,” he added.
GlobalData foresees particular struggles in the commercial and industrial sectors; businesses in these sectors are most at risk from the severe drop in economic activity, domestically and globally, and their immediate priorities will be on staying afloat and rebuilding their core operations, rather than expanding and investing in new premises or capacity.
The residential sector also will struggle as economic activity weakens and unemployment rises, despite low-interest rates and direct government support, revealed Richards. “There is a high risk that a considerable proportion of the early stage projects in these sectors will be cancelled or at least pushed back, with few new projects starting in the second quarter of 2020 as firms review their expansion plans,” he added.
According to Richards, the governments and public authorities would likely be aiming to advance spending on infrastructure projects as soon as normality returns so as to reinvigorate the industry.
“With interest rates falling to record lows, borrowing costs will be at a minimum, but the success of government efforts to spend heavily on infrastructure will be dependent in part on their current financial standing,” he explained.
“Moreover, with most governments prioritizing cash hand-outs, particularly to the economically weaker segment, their capability to invest in the infrastructure segment is likely to be constrained, especially in countries with high debts,” he added.
As high-rise cities grow upwards and outwards, increasing numbers of birds die by crashing into glass buildings each year. And of course, many others break beaks, wings and legs or suffer other physical harm. But we can help eradicate the danger by good design.
Most research into building-related bird deaths has been done in the United States and Canada, where cities such as Toronto and New York City are located on bird migration paths. In New York City alone, the death toll from flying into buildings is about 200,000 birds a year.
Across the US and Canada, bird populations have shrunk by about 3 billion since 1970. The causes include loss of habitat and urbanisation, pesticides and the effects of global warming, which reduces food sources.
But rampant global urbanisation is putting the reliance on glass buildings front-of-stage as an “unnatural” cause of bird deaths, and the problem is growing exponentially.
And that’s where the problems start with high-rise buildings. Most of them are much taller than the height at which birds fly. In Melbourne, for example, Australia 108 is 316 metres, Eureka 300 metres, Aurora 270 metres and Rialto 251 metres. The list is growing as the city expands vertically.
The paradigm of high-rise gothams, New York City, has hundreds of skyscrapers, most with fully glass, reflective walls. One World Trade is 541 metres high, the 1931 Empire State is 381 metres (although not all glass) and even the city’s 100th-highest building, 712 Fifth Avenue, is 198 metres.
To add to the problems of this forest of glass the city requires buildings to provide rooftop green places. These attract roosting birds, which then launch off inside the canyons of reflective glass walls – often mistaking these for open sky or trees reflected from behind.
Reflections of trees and sky lure birds into flying straight into buildings. Frank L Junior/Shutterstock
A problem of lighting and reflections
Most cities today contain predominantly glass buildings – about 60% of the external wall surface. These buildings do not rely on visible frames, as in the past, and have very limited or no openable windows (for human safety reasons). They are fully air-conditioned, of course.
Birds cannot recognise daylight reflections and glass does not appear to them to be solid. If it is clear they see it as the image beyond the glass. They can also be caught in building cul-de-sac courtyards – open spaces with closed ends are traps.
At night, the problem is light from buildings, which may disorientate birds. Birds are drawn to lights at night. Glass walls then simply act as targets.
White-throated Sparrows collected in a University of Michigan-led study of birds killed by flying into buildings lit up at night in Chicago and Cleveland. Roger Hart, University of Michigan/Futurity, CC BY
Architectural elements like awnings, screens, grilles, shutters and verandas deter birds from hitting buildings. Opaque glass also provides a warning.
Birds see ultraviolet light, which humans cannot. Some manufacturers are now developing glass with patterns using a mixed UV wavelength range that alerts birds but has no effect on human sight.
New York City recently passed a bird-friendly law requiring all new buildings and building alterations (at least under 23 metres tall, where most fly) be designed so birds can recognise glass. Windows must be “fritted” using applied labels, dots, stripes and so on.
Combinations of methods are being used to scare or warn away birds from flying into glass walls. These range from dummy hawks (a natural enemy) and actual falcons and hawks, which scare birds, to balloons (like those used during the London Blitz in the second world war), scary noises and gas cannons … even other dead birds.
Researchers are using lasers to produce light ray disturbance in cities especially at night and on dark days.
Noise can be effective, although birds do acclimatise if the noises are produced full-time. However, noise used as a “sonic net” can effectively drown out bird chatter and that interference forces them to move on looking for quietness. The technology has been used at airports, for example.
A zen curtain developed in Brisbane has worked at the University of Queensland. This approach uses an open curtain of ropes strung on the side of buildings. These flutter in the breeze, making patterns and shadows on glass, which birds don’t like.
These zen curtains can also be used to make windows on a house safer for birds. However, such a device would take some doing for the huge structures of a metropolis.
More common, and best adopted at the design phase of a building, is to mark window glass so birds can see it. Just as we etch images on glass doors to alert people, we can apply a label or decal to a window as a warning to birds. Even using interior blinds semi-open will deter birds.
Birds make cities friendlier as part of the shared environment. We have a responsibility to provide safe flying and security from the effects of human habitation and construction, and we know how to achieve that.
This article has been updated to correct the figure for the estimated number of birds killed by the cats in the US to “up to 4 billion”, not 4 million.
Qatar-based Industrial Solutions leader ‘Nehmeh’ has organised the annual Mega Industrial Expo 2020 showcasing a range of the world’s leading brands in construction solutions,
Visitors during the annual Mega Industrial Expo 2020.
The two-day event was held on February 4 and 5 at a five-star hotel in Doha where Nehmeh showcased power tools, ventilation systems, light construction tools and machinery with a focus on concrete machinery along with demonstrations to let guests have a first-hand product experience of the machines and its applications.
An important part of the event was the launch of the Qatar’s first locally manufactured ‘Roof Top Package Unit’ by Nehmeh Air Conditioners and introduction of Belgium based ‘Beton Trowel’ brand renowned for Concrete & Compaction Equipment.
The event also featured key note address by experts from Beton Trowel, Nehmeh Air Conditioners and Makita over the two days. ‘Nehmeh App’ the region’s first industrial solutions mobile app was highlighted to guests at the expo. Nehmeh, one of the leading industrial solutions providers in the GCC, represents world class brands which are leaders in their respective categories.
For over 65 years, tens of thousands of people depend on reliable industrial performance solutions by Nehmeh. This mega event succeeded in attracting visitors including retail partners, suppliers, end-users and others related to the construction industry.
Visitors also included managers from Qatar looking for solutions to improve their efficiency and productivity on sites. Brands participating at the expo were Makita, Nehmeh Air Conditioners, Stampa, SDMO, Beton Trowel, Sofy, Portacool, Koshin, Awelco, Dr. Schulze among many more. Demonstrations were held on specially prepared areas showcasing tools, equipment and machinery. Expert professionals from Singapore, Germany and Belgium presented to the audience new introductions and technologies along with an informative Q & A session.
“Nehmeh range of Industrial Solutions cover major solutions required for the Qatari construction market. This concept event has been developed keeping in mind the requirements of our customers and I am glad to say that the event has been well received by the guests over the years,” said Emil A. Nehme, Chief Executive Officer at Nehmeh.
“With the support of our partners, we have the ability to cover major construction solutions as required here in Qatar. Witnessing the popularity of such an event, we are inclined to hold more such regular events as part of our calendar of activities,” he added.
‘The Nehmeh Corporate Catalogue 2020’ was launched during the event. Awards bestowed to various partners as tribute to their efforts and achievements. In addition, four lucky visitors also walked away with reward trips, gold coins and stay vouchers.
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