Dezeen reports that in the United Kingdom architectural professions top the list of all elite occupations. For millennia, humans make and build the most things in the world, but also contaminate it the most, as it is getting more and more obvious these latter days. Would this impact this article’s assertion if generalised to the rest of the world, mean that those privileged society elites are responsible for what we got now?
This means architectural careers such as architects, town planning officers and technicians rank as number one in the study’s list of the 25 most elite occupations in the UK.
The report also found that class-based exclusion is more prominent in the creative industries than in other sectors of the economy, with other creative occupations ranking in the top 25 including artists, journalists and musicians.
Architecture sector “dominated by the privileged”
“Creative occupations such as architects; journalists and editors; musicians; artists; and producers and directors are, in fact, as dominated by the privileged as doctors, dentists, lawyers and judges,” the report states.
“They are even more elite than management consultants and stockbrokers.”
The report also found that in 2020, those from privileged backgrounds were twice as likely to be employed in the creative industries as those from working-class backgrounds (9.8 per cent and 4.9 per cent respectively.)
The Social Mobility in the Creative Economy report was carried out by Heather Carey, Dave O’Brien and Olivia Gable as part of a three-year programme led by the Policy and Evidence Centre (PEC) exploring class in the creative industries.
In the report, privilege is defined as people who had at least one parent who worked in a “higher or lower managerial, administrative or professional occupation” when they were 14 years old.
This references the National Statistics Socio-Economic Classification (NS-SEC), which clusters various occupations together into eight groups. The report considers those who belong to groups I or II, which includes doctors, CEOs and lawyers, to be privileged.
One in four creative roles filled by working class people
The report also states that in 2020 just one in four people working in the creative industries sector were from lower socio-economic backgrounds and this has remained largely unchanged since 2014.
This means that the UK’s creative industries would need to employ 250,000 more working-class people to become as socio-economically diverse as the rest of the economy.
“To put this figure in perspective, this deficit is greater in scale than the size of the creative workforce in Scotland, Wales and Northern Ireland combined,” the report states.
As such, the authors of the report have also called on the government and industry to adopt a 10-point plan to establish a socially inclusive creative economy.
Recommendations include prioritising creating fair foundations for success and widening access to higher education, eliminating unpaid internships and accelerating the progression of diverse talent.
EGYPTIAN STREETS in its ARTS & CULTURE posted a commemorative article on how Hassan Fathy, the Egyptian ‘Architect of the Poor’ developed against the then ongoing trends of modernism. Did he contribute in his own specific way to the birth of the Post-Modern movement? One wonders but lets us first have a look at this story.
“[Some] saw him as a lonely guru, reminiscent of Old Testament prophets, promising that the world would reap misery for not listening to the truth of his message.”
These words, written in a study dedicated to Hassan Fathy’s legacy, paint a mysterious picture of the life and work of the controversial, yet highly celebrated, Egyptian architect. But who was he, and what makes him stand out until today as one of the most unique, timeless, and internationally recognized Egyptian architects of all time?
Born in 1900 in Alexandria to an upper-middle class family, one notable peculiarity in Fathy’s six-decade career is that much of his work – including New Gourna, the village that became his best-known project – was neither urban nor for the well-to-do.
Located in Luxor, New Gourna was a prime example of the philosophy ingrained in Fathy’s designs. Architecture, he believed, was for human beings. At the core of his concepts were the needs of those who would use his buildings. In the case of New Gourna and many of his other projects, those who used his buildings were Egypt’s rural poor, whom he centred in most of his work.
“We need a system that allows the traditional way of cooperation to work in our society. We must subject technology and science to the economy of the poor and penniless,” said Fathy, who became known as ‘the architect of the poor’.
His work also rejected many elements of internationalist modernism and embraced traditional styles, approaches, and materials, believing that they were best suited for the environment. He valued indigenous insights on architecture and believed that they were there for a reason; a direct result of indigenous needs.
While building New Gourna, for example, he championed cultural authenticity by using mud bricks as his main building material and designing domed ceilings as is common in Upper Egypt.
Fathy, whose work focused on developing countries, the Arab and Muslim world, and particularly Egypt, believed that straying too far from traditional concepts and instead opting for culturally alien designs and materials, would with time encroach on the indigenous cultural identity.
These beliefs marginalised Fathy for some time within the Egyptian community of architects, which initially did not fully accept his rejection of modernism, but Fathy was immovable. Eventually, still within his lifetime, he was vindicated.
Gradually, more and more people in Egypt and the rest of the world began to see that what he was proposing was a different, more locally-centred form of modernism, which is far more sustainable and likely to preserve unique cultural identities.
Fathy was honoured many times for his work and architectural philosophy, receiving awards such as the first Aga Khan Chairman’s Award ever given, as well as the Right Livelihood Award in the first year of its inception, both in 1980. His book, Architecture for the Poor: An Experiment in Rural Egypt, in which he evaluates and discusses his project at New Gourna years after it was built, has become a staple for architecture students around the world.
Today, over three decades after Fathy’s death, his ideas are still proving to be relevant and insightful, perhaps even more than in his own day: for all the excitement about Egypt’s current construction boom, with developments in new urban centers such as the New Administrative Capital or New Alamein City, some are voicing concerns very similar to the core of Fathy’s message of humanism, cultural authenticity, and sustainability.
With expensive, modernist designs that do not tie in local designs or materials, Fathy’s words from 1969 are recalled:
“In modern Egypt, there is no indigenous style. The signature is missing; the houses of rich and poor alike are without character, without an Egyptian accent,” he writes in his book Architecture for the Poor: An Experiment in Rural Egypt. “The tradition is lost, and we have been cut off from our past ever since Mohammed Ali cut the throat of the last Mamluk.
This article republished from The Conversation is about Sudan’s ‘forgotten’ pyramids that risk being buried by shifting sand dunes and take with them all related history.
Rampant desertification expansion towards the north does not meet any counter-movement. But, conversely, in the south, one ambitious African-led reforestation project is leading the way. To combat sand movement and desertification by increasing the vegetation cover along the southern edge of the Saharan desert, a Green Wall is proposed. It is being implemented throughout the continent from ocean to ocean. In the southern edge of the MENA region, we sadly do not share the same concern and do not consecrate to date more than little attention paid to it. Is it the force of habit or what else?
Sudan’s ‘forgotten’ pyramids risk being buried by shifting sand dunes
The word “pyramid” is synonymous with Egypt, but it is actually neighbouring Sudan that is home to the world’s largest collection of these spectacular ancient structures.
Beginning around 2500BC, Sudan’s ancient Nubian civilisation left behind more than 200 pyramids that rise out of the desert across three archaeological sites: El Kurru, Jebel Barkal and Meroe, in addition to temples, tombs and royal burial chambers.
Despite being smaller than the famous Egyptian pyramids of Giza, Nubian pyramids are just as magnificent and culturally valuable. They even offer a crowd-free experience for intrepid tourists.
Built of sandstone and granite, the steeply-sloping pyramids contain chapels and burial chambers decorated with illustrations and inscriptions carved in hieroglyphs and Meroitic script celebrating the rulers’ lives in Meroe – a wealthy Nile city and the seat of power of Kush, an ancient kingdom and rival to Egypt.
Located about 220km north of the capital Khartoum, the cultural gem of Meroe is now one of Sudan’s most significant Unesco world heritage sites. However a lack of preservation, severe weather conditions and negligent visitors have all taken their toll on its monuments. Back in the 1880s, for instance, the Italian explorer Giuseppe Ferlini blew up several pyramids in his search for Kushite treasure, leaving many of the tombs missing their pointy tops. Many more of Sudan’s other pyramids were subsequently plundered and destroyed by looters.
These days sandstorms and shifting sand dunes pose the biggest threat to Sudan’s ancient heritage sites. This phenomenon is nothing new, and was even chronicled thousands of years ago. An inscription found in a temple from the 5th century BC describes a Kushite king giving an order to clear out sand from the pathway:
His Majesty brought a multitude of hands, to wit, men and women as well as royal children and chiefs to carry away the sand; and his Majesty was carrying away sand with his hand(s) himself, at the forefront of the multitude for many days.
But today the threat has been exacerbated by climate change, which has made the land more arid and sandstorms more frequent. Moving sands can engulf entire houses in rural Sudan, and cover fields, irrigation canals and riverbanks.
The best way to combat sand movement and desertification is to increase the vegetation cover, and one ambitious African-led reforestation project is leading the way.
Bringing together more than 20 nations, the Great Green Wall is a multi-billion dollar movement to stop the spread of the Sahara Desert by restoring 100 million hectares of land across the continent from Senegal in west Africa to Djibouti in the east. The intention is to cultivate the largest living barrier of trees and plants on the planet, with Sudan having the longest stretch of the “wall”.
Only 4% of the target area has been covered so far, with big variations from country to country. When it is more complete, this experimental project will hopefully limit the frequency of dust storms and slow the movement of sand onto fertile lands and Unesco sites in northern Sudan. It will also contribute to tackling the extreme heatwaves in semi-arid areas such as the capital Khartoum, where the temperature goes well above 40°C during summer.
However, monitoring the impact of the project, which spans 5,000 miles across Africa, requires “big picture” data. This comes from the latest satellites and remote sensing technologies.
Satellite imagery can provide valuable information about sand movement. For instance satellites are used to monitor the dust storms that transport sand from the Sahara across the Atlantic Ocean to supply the Amazon rainforest with essential fertilising nutrients.
But what about on a smaller scale? How do you predict if and when sand will submerge a field, a watering hole – or a pyramid?
In my own research I have previously used multiple overlapping images taken from aeroplanes to generate digital elevation models for sand dunes in northern Sudan. That led to my current PhD research which focuses on monitoring the movement of sand dunes using satellite optical and radar images, airborne laser imagery and other techniques. My research also investigates the influence of factors such as wind speed and direction, presence of vegetation and topography.
Colleagues and I ultimately want to develop our understanding of how sand dunes grow in size and how they migrate across the desert. This will enable us to monitor the effectiveness of interventions such as vegetation barriers, helping to combat desertification and climate change and to ensure people in Sudan are able to grow enough food. And we may even be able to predict when and where those pyramids will be buried – and what we can do to prevent it.
Marking five years since the passing of renowned architect and artist Zaha Hadid, Zurich’s Galerie Gmurzynska presents a celebratory and revelatory exhibition of her work entitled “Abstracting the Landscape”.
The picture above is for illustration and is of Ocula.
An Homage To Zaha Hadid: “Abstracting The Landscape” Exhibition At Galerie Gmurzynska In Zurich
I write about conscious luxury, focusing on travel, well-being & art.
Described as the “Queen of Curves”, this Iraqi-British innovator was one of the major figures of late 20th Century and 21st Century architecture and design. Her buildings and interiors always dared to be different and her global legacy reveals her creative and enduring genius. What she achieved is an influential body of work which others look to for inspiration.
Hers was a career marked by recognition for all that she contributed to the development of design and function. Her impact on the built environment was extensive and driven by her fusion of Modernism into her architectural creations. This saw her become the first woman to receive the Pritzker Architecture Prize and the only woman ever to be presented with the Royal Gold Medal from the Royal Institute of British Architects. Her numerous and acclaimed exhibitions have included “The Great Utopia” at the Guggenheim Museum and Art Basel in both Switzerland and Miami.
Her architecture always evolved as she was never prepared to stand still or to accept anything that would compromise her vision. She was always eager to challenge preconceptions bringing some much-needed refreshment to an architectural establishment that can often appear stale and inflexible. The fact that her many buildings already seem timeless is a testament to her ongoing relevance and her ability to prompt those who follow to strive to achieve such a level of authenticity.
Galerie Gmurzynska has had a long association with Zaha Hadid having highlighted her work in a number of earlier exhibitions. There is therefore an initial poignancy around this collection of models, drawings, artworks and sculptures as it prompts the thought that she has now gone. However, the sheer vibrancy of the pieces quickly dispels any feelings of melancholy and it is a joy to look at and experience what is so carefully set out here.
“When we saw Zaha’s design for the “Great Utopia” exhibition of Russian Avantgarde at the Guggenheim New York in 1992, it took our breath away. And that is what our relationship was about, to implement breathtaking projects ever since. For most she will be remembered as the female architect who broke the glass-ceiling. For her the term “female architect” was irrelevant. For us, as a gallery, her drawings and paintings could be considered works of art, while Zaha never considered herself to be an artist. Zaha was an eternaly curious and artistic minded person with a vision. It is this Zaha that we attempt to present in our current exhibition as an homage to Zaha Hadid.” says Matthias Rastorfer, CEO and Partner at Galerie Gmurzynska
Zaha Hadid’s use of non-figurative forms and shapes fuses technology with art and the clever interplay of light and color combinations show her freshness of vision, creativity and technical expertise. Elements of the exhibition are so “reach out and touch” that they draw both the hand and the eye as they fill the gallery’s floor space. The sinewy contours of many of the works on display seem irresistible and lure both our eyes and hands to discover more. The mixing of media adds depth to the exhibits and there is also the contrast between the modernity on show here as it juxtaposes with the traditional architecture of the commercial building which appears opposite.
The exhibition involved close co-operation with the late artist’s designs team who act as the guardians of her legacy and who seek to preserve and respect her artistic integrity. It is fitting that Galerie Gmurzynska has decided to incorporate key elements of Zaha Hadid’s work as a permanent element of its gallery space. This will act as a reminder and a living memorial of this great architect and artist’s depth of contribution over the length of her career.
Impressive on all levels.
I view luxury lifestyle from a conscious perspective and am most passionate about wellbeing, art and travel. I am the founder of the lifestyle blog her-etiquette.com (follow me on Instagram: @her_etiquette). I also run the consulting firm HER CIRCLE which specializes in sustainable luxury strategies and marketing concepts with purpose. Before becoming an entrepreneur I have worked in Sales & Marketing at Coutts & Co, Deutsche Bank and Hugo Boss. Based between Zurich and London, I travel the world and write about the joy of the journey.
Named after the Arabic word for rectangle, mustatil structures were first discovered in the 1970s, but received little attention from researchers at the time. Hugh Thomas at the University of Western Australia in Perth and his team wanted to learn more about them, and embarked on the largest investigation of the structures to date.
Using helicopters to fly over north-west Saudi Arabia and then following up with ground explorations, the researchers found more than 1000 mustatils across 200,000 square kilometres – twice as many as were previously thought to exist in this area. “You don’t get a full understanding of the scale of the structures until you’re there,” says Thomas.
Made from piled-up blocks of sandstone, some of which weighed more than 500 kilograms, mustatils ranged from 20 metres to more than 600 metres in length, but their walls stood only 1.2 metres high. “It’s not designed to keep anything in, but to demarcate the space that is clearly an area that needs to be isolated,” says Thomas.
In a typical mustatil, long walls surround a central courtyard, with a distinctive rubble platform, or “head”, at one end and entryways at the opposite end. Some entrances were blocked by stones, suggesting they could have been decommissioned after use.
Excavations at one mustatil showed that the centre of the head contained a chamber within which there were fragments of cattle horns and skulls. The cattle fragments may have been presented as offerings, suggesting mustatils may have been used for rituals.
Radiocarbon dating of the skulls shows that they date to between 5300 and 5000 BC, indicating that this was when this particular mustatil was built – and maybe the others too. If so, the monuments would together form the earliest large-scale, ritual landscape anywhere in the world, predating Stonehenge by more than 2500 years.
“This could completely rewrite our understanding of cults in this area at this time,” says team member Melissa Kennedy, also at the University of Western Australia. She says that further south, religious groups became focused in homes, with families displaying small shrines, but the opposite was happening in ancient Saudi Arabia with the mustatils.
There may also have been a relation between the construction of mustatils and the environment. Built during the Holocene Humid Phase – a period between 8000 and 4000 BC during which Arabia and parts of Africa were wetter, and what are now deserts were grasslands. But droughts were still common. Kennedy says it is possible that cattle were herded and used as offerings to the gods to protect the land from the changing climate.
Mustalils were typically clustered in groups of two to 19, suggesting that gatherings may have been broken up into smaller social groups.
“The mustatils themselves are probably associated with an annual or generational coming-together of people who would normally be out with their herds and cattle,” says Gary Rollefson at Whitman College in Walla Walla, Washington, suggesting that these rituals were important for bringing communities together. “But there’s no indication that these guys spent a lot of time around the mustatil.”
“These structures are enigmatic,” says Huw Groucutt at the Max Planck Institute for Chemical Ecology in Jena, Germany. He says they show that remarkable human cultural developments took place in the Arabian peninsula.
But despite all the new findings, there is still much to learn. “People are going to understand these structures even more in the future,” says Thomas. “It’s nice to be at the forefront, but we’re also excited to see what other people find.”
Originally posted on The Moroccan Revolution is Nigh.: Wahiba Kharchiche deleted her videos. She was sexually harassed for years by her superior in the Hammouchi apparatus. When she sought justice, a fabricated and sexually-laden video of her and her lawyer was leaked by the police media. Jamila Saadani was arrested after exposing sex trade in…
Originally posted on Destination NOW: When we signed up for this Overseas Adventure Travel trip in August of 2019, the world was certainly a different place. Even 20 months after shutdown, Covid STILL has a significant impact on our daily lives. I will admit, we had some reservations about leaving home, even after being fully…
This site uses functional cookies and external scripts to improve your experience.
Privacy & Cookies Policy
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.