DOHA: United Nations Under-Secretary-General and Executive Secretary of the United Nations Economic and Social Commission for Western Asia (ESCWA) Dr Rania Al Mashat has hailed Qatar’s leadership in advancing sustainable development, digital transformation, and multilateral cooperation while calling for deeper collaboration between ESCWA and the country to accelerate progress across the Arab region.
In an interview with QNA, Dr Al Mashat described Qatar as a key regional partner in promoting sustainable development and reaffirmed ESCWA’s commitment to expanding cooperation in areas such as social protection, digital transformation, innovation, strategic planning, artificial intelligence, statistics, and the achievement of the Sustainable Development Goals (SDGs).
She said her visit to Doha reflects the longstanding partnership between ESCWA and Qatar and included meetings with senior Qatari officials to discuss advancing the sustainable development agenda at both regional and international levels. The discussions also focused on enhancing the exchange of expertise and technical knowledge to support development initiatives across the Arab world.
Dr Al Mashat praised Qatar’s active role in fostering multilateral cooperation and highlighted its continued support for the Palestinian cause and efforts to promote peace and regional stability. She stressed the importance of sustaining initiatives that address shared challenges while strengthening regional cooperation.
Commenting on Qatar’s development achievements, she said the country has made significant progress in implementing its sustainable development agenda and has demonstrated a strong commitment to solidarity and multilateral action despite the complex challenges facing the region.
The Diriyah Biennale Foundation launched a new international architecture competition at the iconic Western Hajj Terminal that celebrates the architectural legacy of Muslim societies. The AlMusalla Prize reimagines future spaces of worship as modular, empowering, and transient. It not only pushes the paradigms on sustainable design and cutting-edge technology, but also emphasizes opportunities for dialogue and community building, reclaiming the true essence of a musalla space. The winning proposal by EAST Architecture Studio in collaboration with artist Rayyane Tabet and engineers AKT II features a structure inspired by regional weaving traditions and relies on waste materials derived from local date palm trees. The design consists of an open central courtyard and prayer spaces that form a structure that resembles a loom, addressing togetherness and proximity, which are core dimensions of prayer in Islam. This adaptable structure will be accessible to all visitors throughout the Biennale’s run.
On Weaving, winner of the Diriyah Biennale Foundation’s inaugural AlMusalla Prize, reconciles the historic and contemporary, giving new life to the ancient architectural traditions of Islamic prayer.
It brings together the legacy of courtyard typologies in places of worship, the tradition of using date palm trees as a building material in Saudi Arabia, and the art of weaving, referencing ancient textile making techniques that are indigenous to the Gulf region.
Set within the Western Hajj Terminal at King Abdulaziz International Airport in Jeddah, the gateway for pilgrims to Mecca and Medina, the design of the modular musalla; meaning a space for prayer; is an exemplary study in materiality, craft, contextuality and communality.
Created for the Islamic Arts Biennale in January 2025, the musalla is designed and engineered by EAST Architecture Studio in collaboration with international engineering firm AKT II, and Beirut and San Francisco-based artist Rayyane Tabet.
Not shy in scale to the vast semi-conical vents of the Hajj Terminal’s roof above, designed by Skidmore, Owings & Merrill, the musalla’s grand, modular date palm structure pays homage to Saudi Arabia’s culture and climate. Date palm, one of the region’s most prevalent natural resources, usually a waste product, is here used in abundance – creating a truly carbon-negative structure.
Drawing on regional craft and the tradition of weaving, the structure’s open central courtyard and woven-like prayer spaces evoke a loom, while its facades weave together palm fronds and fibers. Gaps in the translucent facades conduct and diffuse the light.
Set within a landscape grid inspired by the layout of palm-tree plantations, used for shade by local populations for millennia, the musalla is in dialogue with the wider desert environment.
Conversations continue back in the generous, communal central courtyard, whilst the prayer spaces, more contained, create a meditative atmosphere. Modular and multifunctional, the musalla, which can be dismantled and reassembled, will have a future life after the Biennale in Jeddah and beyond.
Among the countless architectural elements that have shaped Iranian architecture over more than three millennia, none is as structurally significant or culturally expressive as the arch. More than a solution for spanning openings, the arch became a language through which Iranian builders articulated space, distributed loads, manipulated light, and expressed spiritual and aesthetic ideals. While columns symbolize vertical authority and walls define enclosure, arches create a transition. They connect spaces, frame views, distribute forces, and establish rhythm within buildings.
Iranian architecture developed one of the richest vocabularies of arches in the world. Unlike many architectural traditions that relied heavily on a limited number of arch profiles, Iranian architects continuously experimented with geometry, proportions, and structural logic, producing dozens of distinctive forms. These arches evolved alongside political dynasties, technological advances, and religious transformations, from the Achaemenid and Sassanian periods through the Islamic era.
The remarkable diversity of Iranian arches demonstrates a sophisticated understanding of mathematics, construction techniques, material behavior, and visual perception. Every archetype emerged to satisfy particular structural requirements while simultaneously enriching architectural beauty. Rather than separating engineering from art, Iranian builders fused the two into a single architectural language.
Although early Persian architecture employed columns and timber beams extensively, true arches began to flourish during the Parthian and particularly the Sassanian periods (224–651 CE). The widespread use of brick encouraged experimentation with curved structural forms because brick naturally lends itself to compression.
The Sassanian Empire revolutionized architectural construction by developing monumental vaulted spaces supported by enormous arches. The famous Taq Kasra (Arch of Ctesiphon) remains one of the largest unreinforced brick arches ever constructed, demonstrating remarkable engineering without steel or reinforced concrete. Its monumental scale established the arch as a symbol of imperial authority and technological mastery.
Following the Islamic conquest, Iranian architects did not abandon these structural innovations. Instead, they refined them. Islamic architecture integrated the arch with geometric ornament, calligraphy, domes, iwans, and courtyards, creating an architectural vocabulary unique to Iran.
The success of the arch lies in its ability to transform vertical loads into compressive forces that travel along the curve toward the supports. Since brick and stone perform exceptionally well under compression but poorly under tension, arches provided an ideal structural solution. Iranian architects intuitively understood concepts that modern structural engineers now describe mathematically:
· Compression paths
· Thrust lines
· Load distribution
· Buttressing
· Material optimization
Rather than increasing wall thickness unnecessarily, carefully designed arches reduced material consumption while increasing structural stability. This intelligent use of geometry allowed Iranian builders to construct enormous spans centuries before modern engineering calculations existed.
The semicircular arch is among the oldest arch forms used in Iran. Derived from Roman and Mesopotamian precedents but adapted through Persian construction methods, it consists of half a circle whose center lies on the springing line. Semicircular arches appear frequently in:
· Bridges
· Caravanserais
· Early mosques
· Water reservoirs
· Historic bazaars
Although structurally reliable, their relatively low height limits their ability to create dramatic vertical spaces.
The pointed arch represents one of the greatest innovations of Iranian architecture. Long before Gothic cathedrals popularized pointed arches in Europe, Persian architects were employing them throughout the Islamic world.
Pointed Arch, The Jameh Mosque of Isfahan, Iran. Source: Wikipedia
Unlike the semicircular arch, the pointed arch reduces lateral thrust by directing more forces downward. Consequently, walls require less reinforcement, allowing buildings to become taller and lighter. Pointed arches became dominant in:
· Mosques
· Madrasas
· Palaces
· Caravanserais
· Garden pavilions
The pointed arch also emphasizes verticality, symbolically directing attention toward the heavens.
Pointed Arch, Goharshad Mosque, Mashhad, Iran. Source: Wikipedia
Five-Centered Arch (Panj-o-Haft)
Among the most characteristic forms of Persian architecture is the Panj-o-Haft or five-centered arch. Unlike simple circular arches, this profile is generated through multiple geometric centers connected seamlessly. The resulting curve combines strength with refined proportions.
Five-centered arches became especially popular during the Safavid period, appearing extensively in Isfahan’s monumental architecture. Because the curvature changes gradually, these arches generate a calm architectural rhythm while maintaining impressive structural performance.
Although commonly associated with later European architecture, four-centered arches were already well established in Persian design. This arch appears flatter than a pointed arch while maintaining structural efficiency.
Four-Centered Arch, Jameh Mosque of Varamin, Iran Source: Wikipedia
Many residential buildings employed four-centered arches because they accommodated broad rooms without excessive wall height.
Four-Centered Arch, Jameh Mosque of Varamin, Iran. Source: Wikipedia
Horseshoe Arch
The horseshoe arch extends below the springing line, creating a curve that narrows before widening. Although often associated with Andalusian Islamic architecture, horseshoe arches also appeared in parts of Iran and neighboring regions.
Horseshoe Arch, Taq Kasra, Sasanian-era, Iraq Source: Wikipedia
Their unusual proportions generate dramatic shadow effects, particularly under intense sunlight.
Horseshoe Arch, The National Museum of Iran, Tehran, Iran. Source: Wikipedia
Elliptical Arch
The elliptical arch emerged where wider spans required lower profiles. Unlike circular geometry, elliptical curves distribute loads differently while creating more horizontal emphasis. Elliptical arches proved useful for:
· Bridges
· Market halls
· Covered passages
· Caravanserais
Their flatter geometry allows broad circulation spaces while maintaining structural continuity.
Elliptical Arch, Niasar Chahartaghi, Kashan, Iran. Source: Wikipedia
Basket Arch
Basket arches consist of several interconnected circular arcs, producing a flattened profile. They became increasingly common during later historical periods, when interior flexibility became important. These arches often appear in commercial architecture where movement and openness are priorities.
Elliptical Arch, Arg-e Bam (Bam Citadel), Iran Source: Wikipedia
Parabolic Arch
Although true mathematical parabolas rarely appeared intentionally in historical construction, many Iranian arches closely approximate parabolic geometry. Modern structural analysis demonstrates that parabolic curves align remarkably well with natural compression paths under uniform loading.
Consequently, some historical Persian arches exhibit outstanding structural efficiency despite being designed centuries before analytical mechanics. This reveals the extraordinary empirical knowledge accumulated by traditional master builders.
The Iwan Arch
Perhaps no architectural feature defines Iranian architecture more clearly than the iwan. An iwan is a vaulted hall open on one side through a monumental arch.
Rather than functioning merely as an entrance, the iwan creates an intermediate spatial condition between interior and exterior.
Its arch serves multiple roles:
· Structural support
· Climatic moderation
· Ceremonial framing
· Symbolic threshold
The four-iwan mosque became one of the defining typologies of Persian Islamic architecture, influencing architecture from Central Asia to India.
Decorative Arches
Not every Persian arch carries structural loads. Many arches function as visual compositions: Blind arches, Recessed arches, Layered arches, and Muqarnas-framed arches. These decorative forms establish rhythm across façades while reducing visual monotony.
Through carefully proportioned repetition, architects transformed flat brick walls into dynamic surfaces animated by light and shadow.
Elliptical Arch, Tarikhaneh, Damghan, Iran. Source: Wikipedia
Brick and Geometry
The remarkable diversity of Iranian arches owes much to brick. Unlike stone, brick consists of relatively small modular units. This modularity permits precise curvature, complex geometries, minimal waste, and flexible construction.
Persian masons developed sophisticated bonding techniques, allowing arches to emerge almost seamlessly from surrounding walls. Every brick contributes to compression, making structure and ornament inseparable.
Symbolism of the Arch
Beyond engineering, arches possess profound symbolic meaning. Within Iranian architectural philosophy, the arch often represents transition: Earth to heaven, exterior to interior, public to private, human to divine. Passing beneath an arch becomes both physical movement and symbolic transformation.
Mosques frequently employ progressively larger arches leading worshippers toward the prayer hall, reinforcing spiritual hierarchy through spatial experience. Similarly, palace architecture uses monumental arches to express political authority while gardens employ graceful arches to frame nature as paradise.
Regional Adaptations
Iran’s varied climate encouraged regional interpretations of arch design. In desert cities such as Yazd and Kashan, pointed arches improved ventilation while reducing heat gain.
In humid northern provinces, lower arches often accompanied timber construction.
Mountainous regions favored heavier masonry arches capable of resisting snow loads and seismic activity.
These regional adaptations demonstrate that Iranian architecture was never stylistically uniform but always responsive to local environmental conditions.
Legacy in Contemporary Architecture
Modern Iranian architects continue to reinterpret historical arches rather than merely copying them. Contemporary projects frequently abstract traditional arch geometry into minimalist forms using reinforced concrete, steel, glass, and parametric design.
Architects such as Nader Ardalan, Kamran Diba, and several younger Iranian designers have demonstrated that the arch remains relevant when understood as a structural principle rather than simply a historical ornament. Digital modeling has further enabled the recreation of complex Persian geometries with unprecedented precision.
The Iwan Arch, The Jameh Mosque of Isfahan, Iran. Source: Wikipedia
Geometry, Structure, and Cultural Identity
The arches of Iranian architecture represent one of humanity’s most sophisticated syntheses of engineering, geometry, craftsmanship, and cultural expression. Far from being repetitive structural devices, they constitute an extensive family of forms, each developed in response to specific spatial, structural, climatic, and symbolic needs. From the monumental Sassanian vaults to the refined five-centered arches of the Safavid era, Persian builders demonstrated an extraordinary command of material behavior and geometric construction long before the advent of modern structural science.
Perhaps the most remarkable aspect of Iranian arches is their refusal to separate utility from beauty. Every curve carries weight, but every curve also carries meaning. It shapes movement, frames light, directs attention, and creates emotional atmosphere. Even today, computational architects continue to rediscover principles that traditional Persian master builders had mastered through centuries of accumulated experience.
In an age increasingly dominated by standardized construction systems and globalized aesthetics, the study of Iranian arches offers more than historical knowledge. It reminds contemporary architects that geometry can be both rational and poetic, that structural necessity can generate artistic richness, and that architecture achieves its highest form when engineering, culture, climate, and craftsmanship become inseparable. The enduring legacy of Iranian arches is therefore not merely their impressive durability, but their demonstration that the most successful architecture is built simultaneously with mathematics, memory, and imagination.
In a moment of brazen hubris in the Oval Office last year, US President Donald Trump railed at Ukrainian President Volodymyr Zelensky. He accused Zelensky of not being thankful for US support in Ukraine’s existential struggle against invading Russian forces, and famously told him: “You don’t have the cards”.
Now, more than a year later, it is Trump who doesn’t have a winning hand in his standoff with Iran.
Iran may be no match for the United States militarily, but it’s been very successful in exerting what leverage it does have over the Strait of Hormuz. Trump can declare the strait open to commercial shipping as much as he wants, but he cannot make it so.
The US has resumed bombing Iran this week to try to wrest control of the strait from Iran, but Trump could go even further if he finds himself backed into a corner.
How Iran is wielding its leverage
Iran’s leverage over the strait comes down to playing a spoiling role – one of the key tactics in asymmetric warfare.
And as evidenced by its actions over the last week, the Islamic Revolutionary Guard Corps (IRGC) can threaten commercial traffic with drones or missile strikes anytime it likes. Despite heavy US bombardments since the war began, most of Iran’s missile sites along the strait are operational again.
Given this, shipping insurers, such as Lloyd’s of London, will either refuse to insure transits through the strait or charge hefty, nonviable premiums as long as the war continues.
Not only can the IRGC threaten shipping, it can also strike sites in every single Gulf state, as it has been doing at scale this week. Many US military bases across the region have been severely damaged. And the myth that having America as a house guest guaranteed security for Gulf states has been completely blown apart.
Why escalation is possible
The reality is there is no military pathway to reopening the Strait of Hormuz.
At the same time, neither the Iranian regime nor the Trump administration want to return to a significant escalation of hostilities. Both have much to lose – the military operations alone may have already cost the US more than US$100 billion – and nothing to gain from a prolonged war.
But the hardliners in Tehran, emboldened by an emotional week of national mourning for the martyred Supreme Leader Ali Khamenei, have a much larger appetite for conflict than more pragmatic leaders in other countries. Analysts believe they could withstand a US naval blockade and bombardments for many more months.
As unpopular as it might be with the majority of the Iranian people, the regime appears to be in a stronger position now than it was when the war began.
Trump, meanwhile, wants desperately to be seen as a winner. And now that many of the conventional checks and balances that constrain a president’s power have been weakened, there is a real risk of reckless escalation.
For instance, Trump has long threatened to strike Iranian civilian infrastructure, such as electric and desalination plants, which could trigger a similar response by the Iranian regime on Gulf state energy infrastructure.
This happened earlier in the war, when Iran targeted energy sites in several Gulf states. If these sites are targeted again, it could have lasting impacts on the global economy.
Should the escalation go further and involve direct strikes on the 400 desalination plants the Gulf states depend on for their drinking water, the consequences would be devastating.
The Iranian regime could also pressure the Houthis in Yemen to escalate from merely blocking Israeli ships from transiting the Bab el-Mandeb Strait at the southern end of the Red Sea to returning to attacking vessels in the chokepoint. About 10% of global trade passes through that strait.
So far, the Houthis have held off on further attacks, in part because after years of war, they have achieved a detente with their neighbour, Saudi Arabia.
Iran warned that its campaign to throttle global energy markets could expand beyond the Strait of Hormuz to the vital Red Sea route if US attacks continue, a threat that would depend on its Houthi allies in Yemen https://t.co/eXKTmx0Okppic.twitter.com/B0Nrk9BGOw
However, this ceasefire now appears shaky, after an airport attack this week that the Houthis blamed on Saudi Arabia.
A ground campaign would be disastrous
The larger reality is that military campaigns from the air have never achieved regime change. Another reality: America, for all its formidable military might, has failed to win a major war in the past 80 years.
Any serious military escalation against Iran would require US “boots on the ground”, similar to Iraq two decades ago. But an international coalition force of hundreds of thousands of military personnel proved to be insufficient in bringing stability to that country after the 2003 invasion. And Iran is almost four times the size of Iraq. It is inconceivable the vastly larger force that would be required to take control of just the mountainous southern coast of Iran could ever be assembled.
With the advent of modern drones, we have also entered a new era of warfare – one Iran is better positioned to exploit than the US. Iran possesses a remarkable depth of industrial military capacity, which has produced a more even match than might have been expected against the world’s most powerful military.
The implications for a US ground campaign are clear: any forces attempting an occupation of even a limited part of the Iranian coast, or Kharg Island, would face formidable opposition.
The risk of a much more serious escalation, though, remains. This includes the very small, but not negligible, risk of tactical nuclear weapons being deployed by the US, opening a Pandora’s box of global consequences.
What is Trump’s best option, then? Allowing Iran to retain a new level of control over the Strait of Hormuz establishes a terrible precedent, but it might be the least worst of all possible outcomes.
Greg Barton, Chair in Global Islamic Politics, Alfred Deakin Institute for Citizenship and Globalisation, Deakin University
Homer’s Odyssey is a quest, following King Odysseus’s ten-year journey back home to Ithaca after the Trojan war. It is a tale with distinct geographic, spatial and temporal dimensions. It is no wonder that for centuries, people have been intrigued by the places mentioned in the Odyssey, wondering how many of them were real.
The ancient Greek polymath Eratosthenes, who was the first person to measure the circumference of the Earth, disputed that the Odyssey had anything to do with geography. He said: “You will find the scene of the wanderings of Odysseus when you find the cobbler who sewed up the bag of the winds.”
I have researched the history of cartography and mental mapping for more than two decades. To me, the geographical elements of this story are what grounds it. Odysseus’s desire to find a way home lies at the very heart of the poem. And Odysseus changes as he moves across these various places and spaces.
Mapping the myth
The ancient Greek historian Polybius, who came 600 years after Homer, believed The Odyssey was a real story with some myths, rather than the reverse. He insisted that some of the fishing practices near Scylla, for example, were similar to those in the islands of Sicily, so Scylla must be located off the coast of Sicily.
Strabo was a Greek philosopher and geographer writing almost seven centuries after Homer. His 17-volume Geographica is a comprehensive atlas and encyclopaedia of Greek life during Emperor Augustus. It also tells the story of islands of men and women in the Indian Ocean, just as Homer depicts in The Odyssey:
In the ocean, there is a small island, not very far out to sea, situated off the outlet of the Liger River; and the island is inhabited by women of the Samnitae, and they are possessed by Dionysus and make this god propitious by appeasing him.
Legends and myths from the time talk about women who seduced men and led them into danger. They were women such as Homer’s Circe, who he describes as “a dreadful goddess with lovely hair”. She lives alone on the island of Aeae with her docile wolves and lions, and lures Odysseus and his men to her to turn them into pigs.
Homer also writes of Calypso, who keeps Odysseus in “sexual captivity” on her island of Ogygia for seven years. Alternatively, this is where Odysseus remained voluntarily until he decided that he had had enough, depending on the translation.
In the maps and globes of the ancient world, myths and the real world overlap and intersect. The Roman mathematician and astronomer Ptolemy, who mapped the known world in 150BC, showed many of these Homeric places in his maps, such as the Lotophagitis (the land of the Lotus-eaters), Circaeum Promontorium (Aeaea, Circe’s kingdom) and Sirenusae Insulae (the island of the sirens).
The Cosmographia Germanus, a 15th-century recreation of Ptolemy’s map of the known world. Cartanciennes
Attempts to transpose these locations accurately to modern maps have been difficult. Ptolemy’s calculations of latitudes and longitudes were based on a vastly different projection and understanding of the Earth’s circumference. An approximate matching of the locations to modern maps hints at Lotophagitis being located in Africa.
In the late-16th century, Dutch mapmaker Abraham Ortelius mapped Odysseus’s journey for the first time in its entirety in his Theatrum Orbis Terrarum. It was called the Map of the Wanderings of Ulysses, Ulysses being the Latin name for Odysseus.
Ortelius represents both the mythical and fictional worlds of Odysseus as scientific facts, and claims that Ithaca is modern Corfu. Homer had placed Calypso’s island off the coast of Scheria, a mythical haven and the final stop for Odysseus before returning to Ithaca.
There was no island west of Corfu, so Ortelius created a fictional island on his map. This became the basis for future maps, and so the imaginary island kept appearing through the 19th and 20th centuries.
Victor Bérard in black and white photograph in 1915. WikiCommons
In 1912, Victor Bérard, a French politician and traveller, tried to retrace Odysseus’s journey by travelling the same route. He placed Calypso’s island near Gibraltar, and the land of the Lotus-Eaters as Djerba off southern Tunisia. He placed the land of the Cyclopes at Posillipo in Naples.
One of the most significant debates in unravelling the geography of The Odyssey has been to pinpoint where Ithaca really was.
For a long time, scholars have argued that it must be the island of Ithaki in the Ionian sea. The problem is that Ithaki is mountainous, while Homer’s Ithaca is “low-lying”.
Researchers from Cambridge and Aberdeen have recently proposed that Ithaca was never described as an island in Homer’s description. Instead, they suggest he describes it as land or country that is part of a bigger island.
This would suggest that Paliki, lying on the western coast of Kefalonia, is a better candidate. Geo-scientific investigations and archaeological excavations have uncovered that Paliki was a significant bronze age site, and hence a plausible location.
The locations from Odysseus’s journey might map on to real-world locations, or they might be purely myth. Either way, the inter-relationship of these locations tell us a story of a yearning for home and search for belonging. It also throws light on how the ancient writers saw our world as filled with mystery and dangers.
The geography of The Odyssey is a lens through which to understand the vulnerabilities and fears of men in the ancient Greek world. Maps of Odysseus’s journey might not be real, but then all maps lie.
Maps are only a story we tell ourselves – a journey into the unknown, far beyond the boundaries of our imagination. In The Odyssey, Homer was not only mapping the world, but building a world.
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