The project of Park of the World has been initiated by a municipal government of the city of Chungju in honor of that now the Secretary general of the United Nations is the native of this city, Ban Ki-Moon. Having stretched on river Namhangang coast, the project becomes the new city center.
The UN Memorial Hall
The building in the form of an ellipse, the maximum diameter — 60 meters becomes United Nations monument. In a building of 8 floors + a basement floor. In the center — an audience on 1,500 places, and also additional conference halls. From an audience the fine kind on Tangeumdae Natural Park will open.
Rising up a spiral, the building becomes the house for an exhibition in which the history of the United Nations since 1945 till today will speak. The person who is the center of interest of missions of the United Nations, will be integrated into architecture and appearance of "globe". The building will be located in the center of a garden from 192 apple-trees which number is equal to number of the states which are members of the United Nations.
As the sector of financial services is very abstract to most people, the main challenge with regards to the contents was to develop innovative and exciting narrative formats that create a tangible experience. Design wise we wanted to avoid permanent spatial logos that dominate and frame the space with simple 3D extrusion, thus, we had to find a subtle though still clearly recognisable way of translating it into spatial architecture.
As part of the redesign of their corporate headquarters, Deutsche Bank took the opportunity to create a permanent brand space. The brief was to shape an environment where their well-known logo designed by Anton Stankowski is embodied within the space and where customers, employees and external visitors would be able to experience and to connect with the Deutsche Bank brand. All relevant aspects of the company, beginning with its history and extending to its various business divisions and their contributions to society today should be communicated to the visitor.
Using the concept of anamorphosis abstract architectural structures have been designed to only reveal themselves as the logo when viewed from specific sweet spots. Parts of the logo sculptures are formed by incorporated media installations that allow the visitor to physically experience and interact with the brand. One of the sculptures is touch-sensitive – here networked information bits can be explored. The second reacts to the visitor, whose physical motions trigger the display of statistic data. The third, a kinetic sculpture communicates the brand values precision and passion in a metaphorical, emotional way.
Since the opening on April 6, more than 20,000 visitors came to see the Brand Space. Board members use the space to hold receptions, functions such as HR are using it for employee activities, bank managers invite partners and clients, and the press department welcomes journalists in the Brand Space. Moreover, marketeers from international companies come to experience the space, as it’s the first brand space for a financial services brand.
Advertiser/Client: DEUTSCHE BANK; Entrant Company: ART+COM Berlin, GERMANY; DM/Advertising Agency: ART+COM Berlin, GERMANY; 2nd DM/Advertising Agency: COORDINATION Berlin, GERMANY; Creative Director: Joachim Sauter (ART+COM); Creative Director: Jochen Gringmuth (Coordination); Project Manager: Gert Monath (ART+COM); Art Director: Eva Offenberg (ART+COM); Art Director: Petra Trefzger (ART+COM); Architect: Jeanette Riedel (Coordination); Head Of Media Technology: Björn Seeger (ART+COM); Designer: Arne Michel (ART+COM); Computational Designer: Christian Riekoff (ART+COM); Head Of Development: Sebastian Heymann (ART+COM).
The new interior for Parisian shop L'Eclaireur was issued Arne Quinze, by the artist from Belgium.
For furnish of internal territory of a fashion it was required two tons of wooden boards, and also it is a lot of others vintage elements. Into walls it's integrated 147 screens showing various animated plots.
The Vintage Interior
“This place inspires us. We each time try to be beyond easier luxury. This research, search, surprise… Various possibilities for display of necessary expressiveness of data, the actual moment. It not simply stop, is experience. The project has united in itself dreams, emotions, history and memoirs. It's imagination in which each person will find itself.”
Each skyscraper in Chicago is continuation of History of Skyscrapers which has begun for a city in 1885 with building Home Insurance Building. "Tower" in height of 42 meters (plus two floors have been completed in 1891, having finished height to 50 meters) became the first-ever building exceeding level in five floors. New Aqua Tower — height of 250 meters, the sculptural facade of a structure creating illusion of waves is unique.
The Unique Architectural Structure
Calcareous rocks, characteristic for area of Great Lakes became a prototype of a wavy facade. Such architectural decision it has not only visual value, and is functional; waves are used as viewing platforms, and also a shadow veil. Building parameters; 82 floors, 250 meters in height, 215 hotel rooms (with 1 on 18 floor), 476 apartments (with 19 on 52 floor), 5,100 sq. m. trading and office areas, an underground parking, a 8-storeyed cellar a total area of 32,000 sq. m., a terrace with gardens, pools, arbors, paths for walks and run.
Australia is home to one of the world’s great art treasures in the form of hundreds of thousands of rock art sites scattered throughout the country.Munnurru public rock art site on Wunambal Gaambera Aboriginal Corporation land [Credit: Sven Ouzman]
Unfortunately, most Australians have not had the privilege of visiting these special places. Such a visit radically expands a person’s understanding of Australian history as something that goes much, much deeper than our shallow, colonial roots of the last few hundred years.
To reinforce this broader understanding of identity and heritage, archaeologists, chemists, geologists, and physicists from the universities of Melbourne, Western Australia and Wollongong, Archae-Aus consultancy, and the Australian Nuclear Science and Technology Organisation launched a 3 year project across the Kimberley to date rock art using an astonishing variety of scientific techniques.
In 2014 the team was privileged to begin work along the King George River in Balanggarra Country, and has continued this year along the coast of Dambimangari Country.
The work involves careful study of the rock art and its associated cultural context and then taking very small samples mostly of mineral crusts, mudwasp nests and organic material growing on rock surfaces, for laboratory analysis.
These materials may also degrade the art itself over time, so understanding their formation will help guide future conservation and management practices.
No rock art dates are available yet – though indications are that some rock art is very recent, while other rock art traditions may be tens of thousands of years old.
These dates will help demonstrate to the outside world the depth and range of Kimberley rock art, and build the case for it to be recognised with World Heritage Site status.
These dates also help disprove false claims that some Kimberley rock art was not made by Aboriginal people.
To properly date and understand Kimberley rock art will take many years, but the Rock Art Dating Project team are confident the results will help grow a national pride and respect for this intellectual and cultural achievement made and looked after by Aboriginal people.
Rapid urbanization and authorities' neglect seem to have caused irreparable damage to some of Delhi's heritage structures. An early 18th century gateway built by Maldhar Khan, Nazir during the reign of Mohammed Shah, collapsed in north Delhi on Sunday morning. It was one of the two gateways leading to the garden of Maldhar Khan, which has also disappeared over the years. The surviving structure is in a dilapidated state having seen no conservation work over decades.The structure was one of two gateways leading to the garden of Maldhar Khan [Credit: Sanjeev Rastogi]
Both the gateways are located on GT Road, close to ASI-protected Tripolia gateways. Nobody was hurt when the structure collapsed on Sunday. One could only see rubble, debris and remains of the monument on Monday, with only some portions left standing. "It's fortunate no one was hurt when the building came tumbling down. We have never seen the authorities showing any interest to preserve this building, even though it dates back to 1710,'' said Vinod Bansal, who owns a shop adjacent to the collapsed gateway.
It is not clear which agency has jurisdiction over the monument. But encroachment is rampant in the area with many heritage structures being damaged by vandals and squatters. "I have been living here for many years. I used to pay rent for running my shop in the building to its owner. We knew the building was going to collapse as we saw small pieces of debris falling and noticed an unusual tilt to the monument early on Sunday. My shop has been closed as the whole building is declared dangerous now,'' said Niranjan Sharma, who had a telecommunications shop right next to the gateway entrance.
According to Intach Heritage listing, the double-height gateway was originally faced with red sandstone. The upper floor was taken over as a residence years ago, which is the only portion still standing.
The second gate has been likewise neglected for years [Credit: Sanjeev Rastogi]
The surviving gateway to the garden of Maldhar Khan, meanwhile, is also falling to pieces.
Sources said both the gateways were surveyed and identified by the department of archaeology for conservation and protection under the Delhi Archaeology Act. While it is unclear whether the department had identified both gateways for protection or just one,
Experts said the delay in implementing conservation measures had caused more damage to them. Officials from the department of archaeology did not respond to calls made by TOI.
Both structures also figure in the municipal corporation's list of notified heritage buildings. North Corporation commissioner P K Gupta said: "We'll have to look into the reasons of the collapse and determine the building's ownership. Action will be taken accordingly.'' The Maharana Pratap Bagh RWA has also written to the Delhi government over the collapse, accusing them of negligence.
"This historic building was heavily encroached upon. The department of archaeology failed to take action, which led to this,'' said Saurabh Gandhi, RWA president. On Monday, a team from ASI visited the site to assess whether the collapse had any effect on the Tripolia gateways.
While much is not known about the history of the gateways, experts say there were older than the ASI-protected Tripolia gateways. While Tripolia was built in 1728, these two gateways were built in 1710. History has it that they were built by Maldhar Khan, Nazir during the reign of Mohammed Shah Rangila. The two gateways used to lead to a beautiful garden also built by Khan. The garden vanished many years ago, and only can only see a clutter of shops and crowded houses there now. Not much is known about Maldhar Khan but it is assumed he was an influential noble and gifted architect.
Author: Richi Verma | Source: Times of India [July 07, 2015]
The ancient city of Ephesus in western Turkey has been added to UNESCO’s World Heritage List following a vote in Bonn on July 5.Ephesus [Credit: DHA]
The move came just a day after Diyarbakir’s wall and its nearby Hevsel Gardens were added to the list as well.
Speaking to Anadolu Agency, Permanent Representative of Turkey to UNESCO Hüseyin Avni Botsalı – who headed the Turkish delegation at the session – described the unanimous approval of Ephesus as a great success.
“In fact, we have a great responsibility on our shoulders in terms of cooperation of the international community in this field. We will make significant efforts for the protection of civilizational values and cultural properties,” he added.
Turkish Culture and Tourism Minister Ömer Çelik celebrated the development in a series of Twitter posts.
“We have just received the second good news from Germany. Ephesus is now officially on the world heritage [list],” he said.
The minister said Ephesus had always been a key port city, as well as a cultural and commercial center, throughout history.
“A principal city of science, culture and art of its era, Ephesus had been a residential area starting from the pre-historic era and through the Hellenistic, Roman, Eastern Roman periods and also under the Ottoman Empire for about nine millennia without interruption,” he said.
Çelik also said Ephesus, which draws 2 million visitors a year, was a place that the whole world agreed was a site of global cultural heritage.
In a later interview with Anadolu Agency, Çelik noted the threat that the Islamic State of Iraq and the Levant (ISIL) posed to world heritage in neighboring countries like Syria.
“While a terrorist group called Daesh destroys cities, it is a significant message against this barbarism that Turkey as a Muslim country in the Muslim world managed to put its properties on the world heritage list,” he said, using the Arabic acronym for ISIL.
In May, ISIL militants seized the Roman ruins at the Palmyra World Heritage site in Syria’s Homs Governorate. Last week, members of ISIL destroyed a peerless statue of a lion at the site on the grounds that it is idolatrous, while it has also allegedly conducted executions at the ancient city’s famous theater.
Describing Ephesus, UNESCO said: “The Temple of Artemis, which was considered to be one of the Seven Wonders of the World, is situated on the edge of this small town. The city which was situated at the beginning of the Persian Royal Road has survived sufficiently enough to enable us to understand the ancient way of life in Ephesus. It is one of the cities which played an impressive role in the beginnings of Christianity and during the period of its proliferation (St. John Church and the shrine of the Virgin Mary). It contains one of the most spectacular examples of religious architecture of the Seljuk Period.”
Turkey first entered the UNESCO World Heritage list in 1985 with Göreme National Park and the Rock Sites of Cappadocia and the Great Mosque and Hospital of Divriği – both in central Turkey – and the historic areas of Istanbul.
The Hittite capital Hattuşa was added to the list in 1986, followed by Mount Nemrut in Adıyaman 1987, and Hierapolis-Pamukkale in Denizli and the ancient city of Xanthos-Letoon between Muğla and Fethiye in 1988.
In 1994, the city of Safranbolu was approved as a world heritage while the archaeological site of Troy was added to the list in 1998. In recent year, Edirne’s Selimiye Mosque and its social complex was added in 2011, as was Konya’s Neolithic site of Çatalhöyük in 2012.
The latest entries in 2014 were Bursa’s Cumalikızık village which witnessed the birth of the Ottoman Empire and İzmir’s ancient city of Pergamon and its multi-layered cultural landscape.
A stolen bronze Indian religious relic worth an estimated $1 million was recovered Wednesday by federal customs agents as part of a continuing investigation into a former New York-based art dealer.The item recovered this week is a Chola-period bronze representing a Tamil poet and saint that dates to the 11th or 12th centuries [Credit: John Taggart/The Wall Street Journal
The dealer, Subhash Kapoor, is now awaiting trial in India for allegedly looting artifacts worth tens of millions of dollars.
Mr. Kapoor operated a now-defunct gallery on the Upper East Side called Art of the Past. Prosecutors allege that between 1995 and 2012 he illegally imported and sold stolen antiquities from India, Afghanistan, Pakistan and elsewhere, often using forged documents to pass the items off as legitimate.
The U.S. Immigration and Customs Enforcement’s Homeland Security Investigations unit and the Manhattan district attorney’s office have together recovered more than 2,500 artifacts worth more than $100 million from the gallery and storage facilities in and around New York City.
Kenneth J. Kaplan, a lawyer in New York representing Mr. Kapoor, declined to comment Wednesday, but said his client had asserted his innocence both to him and to his counsel in India. Mr. Kapoor has not yet entered a plea in India, according to a spokeswoman for Manhattan District Attorney Cyrus Vance Jr.
The item recovered this week is a Chola-period bronze representing a Tamil poet and saint that dates to the 11th or 12th centuries, according to Brenton Easter, a special agent with Homeland Security Investigations. The statue, which stands nearly two feet tall and weighs more than 80 pounds, was allegedly looted about a decade ago from a temple in a village in the southeastern Indian state of Tamil Nadu.
The theft of the figure was “completely devastating” to the villagers, Mr. Easter said on Wednesday afternoon, as he stood by the open door of the van containing the relic parked on East 91st Street near Park Avenue. The item was smuggled into the U.S. labeled as a handicraft, and then offered for sale at Mr. Kapoor’s gallery on Madison Avenue.
In recent months some institutions that purchased objects from Mr. Kapoor have surrendered the items to Homeland Security Investigations. They include the Honolulu Museum of Art and the Peabody Essex Museum in Massachusetts.
In a statement, Honolulu Museum Director Stephan Jost said in April that “clearly the museum could have done better” with its past vetting of objects. Dan L. Monroe, the Peabody Essex Museum director, said in a statement that month that the institution has undertaken “a rigorous internal assessment of its collection and is working in full cooperation with the Department of Homeland Security.”
This time around, the stolen object was voluntarily surrendered by an anonymous collector who had been contacted by investigators about the piece. Officials said the buyer was considered a victim because the statue was accompanied by a false provenance, or ownership history, that predated its theft.
“We commend this collector for his conscious decision to return this stolen idol,” said Raymond R. Parmer, Jr., special agent in charge of HSI New York. “We hope that other collectors, institutions and museums will continue to partner with HSI, and to see this surrender as a successful way to move forward when dealing with artifacts that might be of concern.”
The agency has recovered at least six other sacred Chola bronzes that it anticipates repatriating to the Indian government.
In April, the Manhattan district attorney’s office filed papers in New York State Supreme Court seeking the forfeiture of 2,622 items seized from the gallery and storage units in Manhattan, Queens and Long Island. The items were worth $107 million, according to the summons. Among them: a statue from India valued at $15 million, a large bronze statue from Cambodia or Thailand worth $5 million and a large standing Buddha from North India estimated at $7.5 million.
According to the April summons, Mr. Kapoor and his gallery manager, Aaron Freedman, “engaged in a common plan and scheme to illegally obtain and sell stolen items of art and conceal or disguise the nature, source and ownership of the illegally obtained property.”
Mr. Freedman pleaded guilty in December 2013 to five counts of criminal possession of stolen property and one count of conspiracy, according to the summons. Prosecutors said the antiquities were forfeitable from Mr. Kapoor and his gallery as proceeds and/or instrumentalities of crime.
Author: Jennifer Smith | Source: The Wall Street Journal [July 03, 2015]
Condemning the destruction of archaeological treasures from the ancient Syrian city of Palmyra as a “perverse…new attempt to break the bonds between people and their history,” the head of the United Nations Educational, Scientific and Cultural Organization (UNESCO) today called on the international community, including the art market, to join forces and stop the traffic in cultural property.The 1,900-year-old Lion of Al-Lat statue is said to have been destroyed by Islamic State militants [Credit: Mappo/WikiCommons]
"The ongoing destruction of Palmyra's cultural artifacts reflects the brutality and ignorance of extremist groups and their disregard of local communities and the Syrian people," decaled UNESCO chief Irina Bokova, strongly condemning this new assault on Palmyra, a World Heritage Site, particularly funerary busts and the renowned Lion statue of Athena from the entrance of the site's museum.
"The destruction of funerary busts of Palmyra in a public square, in front of crowds and children asked to witness the looting of their heritage is especially perverse,” she said, explaining that the busts embody the values of human empathy, intelligence and honor the dead. They also represent a wealth of information on costumes, jewelry, traditions and history of the Syrian people.
“Their destruction is a new attempt to break the bonds between people and their history, to deprive them of their cultural roots in order to better enslave them, "she declared.
With this in mind, Ms. Bokova reiterated her call to all religious leaders, intellectuals and young people to stand up against the manipulation of religion, to respond to the false arguments of extremists in all media and through the #unite4heritage campaign.
"I commend the courage of the youth from the Arab world who are committed to protecting their heritage as a source of strength, resilience and hope in the future,” she said.
Finally, she called strongly on all UN Member States, the art market and experts to join forces to curb the illicit traffic of cultural property.
“I call on all researchers, artists, filmmakers and photographers to continue to cooperate and join forces with UNESCO to document and share the wealth of the Mesopotamian civilization. Neither bombs nor jackhammers can erase this great culture from the memory of the world,” she declared, adding that nothing can ever stifle human creativity - despite the obstacles and fanaticism, this energy will come back stronger than before, buildings and sites will be rehabilitated, and some will be rebuilt, and culture will find its place because it embodies the vitality of societies.
“UNESCO will continue to work with the people of Syria to make sure that moment comes as soon as possible,” the Director General concluded.
The Islamic State released photos showing the destruction of six priceless artifacts from the ancient city of Palmyra. The photos show jihadis taking a sledgehammer and smashing the historic treasures, including one dating from the second century.
Jihadis took sledgehammers to the relics, smashed them to pieces and then lashed the man who allegedly smuggled the artifacts in a public square full of onlookers, the Islamic State announced Thursday [Screenshots from Islamic State propaganda video]
Jihadis took sledgehammers to the relics, smashed them to pieces and then lashed the man who allegedly smuggled the artifacts in a public square full of onlookers, they announced on social media Thursday.
One-fifth of Iraq's approximately 10,000 world-renowned cultural heritage sites are under the Islamic State's control and most have been heavily looted, Irina Bokova, the head of the U.N. cultural agency UNESCO, warned experts in London Thursday. Some Syrian sites have been so badly ransacked that experts say they no longer have historical or archaeological value.
The statues were discovered and deemed icons under ISIS's radical interpretation of Shariah law [Screenshots from Islamic State propaganda video]
"Violent extremists don't destroy [heritage] as a collateral damage, they target systematically monuments and sites to strike societies at their core," Bokova said Wednesday.
The 2,000-year-old Allat God statue, which depicts a lion catching a deer between its feet, is believed to have been destroyed Saturday. "ISIS terrorists have destroyed one of the most important unearthed statues in Syria in terms of quality and weight...it was discovered in 1977 and dates back to the second century A.D.," Ma'moun Abdul-Karim, director of museums and antiquities, told Syrian state-run news agency SANA Thursday.
The Lion of Al Lat statue at the Temple of Allat in Palmyra [Credit: Alamy]
It's "the most serious crime they have committed against Palmyra's heritage," he added to the AFP.
The militants have also planted improvised explosive devices (IEDs) around the ruins of the ancient city. The explosives appear placed according to a pattern that indicates they are set to optimize the "filmed destruction," says Michael Danti, co-director of the Syrian Heritage Initiative at the American Schools of Oriental Research, a group monitoring cultural damage in Syria and Iraq.
"The deliberate destruction, what we are seeing today in Iraq and Syria, has reached unprecedented levels in contemporary history," said Bokova.
Author: Barbara Boland | Source: Washington Examiner [July 02, 2015]
Tucked away among northwestern New Mexico's sandstone cliffs and buttes are the remnants of an ancient civilization whose monumental architecture and cultural influences have been a source of mystery for years.Pueblo Bonito ruins, Chaco Canyon [Credit: Scott Haefner]
Scholars and curious visitors have spent more than a century trying to unravel those mysteries and more work needs to be done.
That's why nearly 30 top archaeologists from universities and organizations around the nation called on the U.S. Interior Department on Tuesday to protect the area surrounding Chaco Culture National Historical Park from oil and gas development.
In a letter to Interior Secretary Sally Jewell, they talked about the countless hours they've spent in the field, the dozens of books they've published about the Chaco society and their decades of collective experience studying its connection to modern Native American tribes in the Southwest. They call Chaco a distinct resource.
"Many of the features associated with this landscape — the communications and road systems that once linked the canyon to great house sites located as far away as southeast Utah and which are still being identified to this day — have been damaged by the construction of oil and gas roads, pipelines and well pads," the archaeologists said.
They're pushing for the agency to consider a master leasing plan that would take into account cultural resources beyond the boundaries of the national park. They're also looking for more coordination between federal land managers, tribes and archaeologists.
The Bureau of Land Management is revamping its resource management plan for the San Juan Basin and all new leasing within a 10-mile radius of Chaco park has been deferred until the plan is updated, likely in 2016.
Tourists cast their shadows on the ancient Anasazi ruins of Chaco Canyon [Credit: AP/Eric Draper]
Wally Drangmeister, a spokesman for the New Mexico Oil and Gas Association, said the BLM's existing plan already takes into account cultural resources. He said there has been a push by environmentalists to tie Chaco to development in the Mancos shale more than 10 miles from the park.
Environmentalists have been calling for protections for the greater Chaco area, and Drangmeister said that expansive definition could put the whole San Juan Basin off limits.
The basin is one of the largest natural gas fields in the U.S. and has been in production for more than 60 years. More development is expected in some areas since technology is making it easier for energy companies to tap the region's oil resources.
Some archaeologists have theorized that Chaco's influence spread far and wide from its remote desert location. A World Heritage site, Chaco includes a series of great houses, or massive multistory stone buildings, some of which were oriented to solar and lunar directions and offered lines of sight between buildings to allow for communication.
Steve Lekson, a professor and curator at the University of Colorado Museum of Natural History, has spent years studying Chaco and its influence over the Southwest. He likened the process to learning how to play baseball after discovering home base and the pitcher's mound.
"You keep poking around and find more bases and the warning tracks and all that stuff. You need the whole picture to understand how the game is played," he said. "Of course, Chaco being a political system or major regional system is much more complicated than baseball. You need enough of the package intact so you can actually understand the structure of the thing."
Chris Farthing of England takes a picture of the Chaco Canyon ruins [Credit: Jeff Geissler/Associated Press]
Lekson and others said the hope that there's more to be discovered doesn't mean energy development should come to a halt.
"I don't think anybody is saying that, but we need to pay a lot of attention to how that's done and be cognizant of the larger issue," he said. "It shouldn't be a site-by-site thing."
The archaeologists' letter comes on the heels of a tour of the Chaco area by U.S. Sen. Tom Udall, D-New Mexico, and Interior Deputy Secretary Mike Connor. The two met with land managers and others after the tour.
Connor said there are Navajo allottees who want to develop their resources and other Native Americans who want to protect those resources.
"It's a balancing act throughout all of BLM's lands and I think Chaco is particularly unique," he said. "The more I learn about it, the more I was struck by the more we all have to learn."
Author: Susan Montoya Bryan | Source: The Associated Press [July 01, 2015]
For more than a decade, he was the self-styled Indiana Jones of Egypt, presiding over its antiquities and striding through temples and tombs as the star of TV documentaries that made him an international celebrity.In this June 18, 2015 photo, Zahi Hawass, Egypt's former head of antiquities, speaks during an interview with The Associated Press in his office in Cairo. For more than a decade, he was the self-styled Indiana Jones of Egypt, presiding over its antiquities and striding through temples and tombs as the star of TV documentaries that made him an international celebrity. But four years after the 2011 uprising that toppled President Hosni Mubarak and nearly ended his own career, Hawass can be found in a cramped office, lamenting the state of the antiquities bureaucracy he once ruled like a pharaoh and dreaming of a new museum whose fate lies in limbo [Credit: AP/Hassan Ammar]
But four years after the uprising that toppled President Hosni Mubarak and nearly ended his own career, Zahi Hawass can be found in a cramped Cairo office, lamenting the state of the antiquities bureaucracy he once ruled like a pharaoh and dreaming of a new museum whose fate lies in limbo.
His trademark wide-brimmed hat and safari vest may be hung up for now, but he is brimming with ideas on how to revive Egypt's antiquities and bring back tourists after years of unrest.
A long-planned new facility out by the pyramids, called the Grand Egyptian Museum, was intended to open this year, but the government says it is short the one billion dollars needed to complete the project.
"Government routine cannot work for museums," Hawass said in an interview in his office, asserting that state bureaucracy is one of the main reasons the current Egyptian Museum has fallen into disrepair. For the new museum, "the directorship, the curatorship, it can be from America, from Germany, from England, from any place in the world. You need this museum to be international."
He also says private, international sponsorship is needed.
"If you pay $10,000, I put your name, written on the wall of the museum. If you pay $100,000, I put your name on the facade of the museum. If you build a whole gallery, I will name (the gallery after you)," he said, adding that the government should announce that Egyptian monuments belong to the entire world, not just Egyptians.
As to the challenge of moving artifacts from the current museum in downtown Cairo over bumpy roads to the site of the new facility on the city's outskirts, Hawass says "any TV channel" would pick up the tab in return for exclusive rights to document the artifacts' restoration and transport. "They will run in competition to do this," he said.
Hawass knows TV. He was once a staple on the Discovery Channel and had his own reality show on the History Channel called "Chasing Mummies," the promo for which introduced him by saying "100,000 years of history belong to one man... Only he holds the key to the world's greatest ruins."
The productions earned him droves of fans abroad but led to accusations of grandstanding in Egypt, where he was seen by many as a self-promoter who mistreated subordinates and abused his position for personal gain. He lost his job as head of antiquities after the 2011 uprising and faced corruption charges, of which he was later cleared.
But his swashbuckling antics gave a boost to Egyptian archaeology, with fundraising efforts and international tours of King Tut artifacts generating tens of millions of dollars.
His name is still associated with many of Egypt's most famous digs, including grand discoveries such as the Valley of the Golden Mummies in Bahariya Oasis in 1999 and the mummy of Queen Hatshepsut almost a decade later. He has long campaigned to bring home ancient artifacts spirited out of Egypt during colonial times, and once said he had managed to recover 5,000 pieces.
Zahi was an outspoken supporter of his longtime patron Mubarak, and has praised President Abdel-Fattah el-Sissi, who led the military overthrow of an Islamist president in 2013 and was elected last year. But that support has not translated into an official role other than promotional work for tourism in Egypt.
When asked about the state of antiquities today, Hawass says things have improved over the last year, carefully avoiding direct criticism of anyone in particular. But he points out that there is still theft, mismanagement and corruption - noting two incidents in recent months in which artifacts were found to have been replaced with replicas.
"This did not happen before," he said, adding that in order to prevent such abuses, "we need to restore the people before we restore antiquities," by boosting employees' salaries and providing them with health insurance.
Hawass insisted during the interview that he is focused on writing and has no desire to return to his previous position as head of the country's antiquities. "People come here every day and ask me to come back... I think I did my duty, and it's time for me now to publish all that I discovered."
But at the glitzy launch of his latest book earlier this month at a ceremony at a five-star hotel attended by hundreds of Cairo's elite, he was less guarded about possible ambitions to return.
"Maybe," he said, as a torrent of fans pressed to take photos next to him.
Author: Brian Rohan | Source: The Associated Press [June 30, 2015]
Thousands of examples of millennial old art carved into rocks and on the walls of caves are under threat as their location is often unknown and unprotected from artefact thieves.Warriors on horseback, southern Mauritania [Credit: British Museum/African Art]
Despite providing some of the oldest art in the world, Africa’s rock art tradition has long been overlooked by archaeologists and art historians alike.
Now the British Museum and Kenyan-based archaeological charity TARA (Trust for African Rock Art) are working to preserve this endangered heritage.
“The Museum wants to make Africa’s rock art available to both scholars and the general public alike. We hope to both protect and share this remarkable history for free with a global audience,” says Elizabeth Galvin, Curator of the African Rock Art Image Project.
The rock art tradition began in Africa 50,000 years ago, but abstract engravings may be up to 77,000 years old. It long predates writing, so serves as an important historical window into the culture and beliefs of early humans, and the world in which they lived. Today only a handful of isolated groups engage in the tradition, with a few sites still being used for fertility and rainmaking rituals.
The places in which ancient rock art is found have been little documented and largely unprotected, leading to a deterioration of the sites and the art itself. In 1996, TARA was set up, in order to record and protect the rich rock art heritage of the African continent.
The Nairobi-based NGO are committed to improving awareness about this tradition, and the endangered state that rock art sites are in.
“The ultimate aim is to record all this incredible heritage for humanity before it’s too late,” says David Coulson, TARA’s Executive Chairman.
TARA signed the partnership agreement with the British Museum, so that the Museum could use a digital copy of TARA’s photographic archive to educate people further about rock art. Since the sites are often fairly inaccessible geographically, and susceptible to natural and man-made destruction, the project will allow both academics and general audiences greater access to the tradition.
It will be the first time that such an extensive rock art archive will be available to the British public, and will provide one of the most complete public databases on African rock art in the world. 25,000 digital photos of sites from across Africa will be included, alongside material from archaeological and anthropological research.
The collection will include images of sites across the Fezzan of Southwest Libya, with dates ranging from 10,000 BC to 100 AD. Sites in the Messak Sattafet and the Acacus Mountains, (part of the Tadrart-Acacus trans-frontier UNESCO World Heritage site) will feature, depicting a wide range of subjects, from hippopotami to men in chariots. A survey of the South African sites will show the different styles and subject matters of the Khoi, San and other groups of humans from thousands of years ago. As well as this early art, the collection will also exhibit engravings and graffiti by European settlers in the late nineteenth and early twentieth centuries.
In East Africa, the TARA archive will reveal geometric paintings and engravings by Twa forager-hunters as well as images of livestock, shields and clan markings made by Maasai and Samburu pastoralists in rock shelters. In these photos, ‘rock gongs’ – rocks with natural resonance once used for communication – feature prominently.
For more information, please visit britishmuseum.org/africanrockart.
The British Museum’s African rock art image project is supported by the Arcadia Fund.
TARA have also set up a crowdfunding initiative for their organisation. To donate, click here.
Author: Daisy Fletcher | Source: The Independent [June 27, 2015]
A British wildlife film-maker has returned from one of the most inaccessible parts of the world with extraordinary footage of ancient rock art that has never been filmed or photographed before.Images of rock art that could be 20,000 years old, found in Chiribiquete national park, Colombia [Credit: Francisco Forero Bonell/Ecoplanet]
In an area of Colombia so vast and remote that contact has still not been made with some tribes thought to live there, Mike Slee used a helicopter to film hundreds of paintings depicting hunters and animals believed to have been created thousands of years ago. He said: “We had crews all over the place and helicopters filming all over Colombia. As a photographer, Francisco Forero Bonell discovered and took the pictures for my movie.”
The extraordinary art includes images of jaguar, crocodiles and deer. They are painted in red, on vertical rock faces in Chiribiquete national park, a 12,000 square kilometre Unesco world heritage site that is largely unexplored. There are also paintings of warriors or hunters dancing or celebrating. “It is the land that time forgot,” Slee told the Observer.
There had previously been only vague reports of rock art in the area, which is known as Cerro Campana, he said: “There’s no information, maps or communication. It’s such a massive central part of Colombia.” Though some paintings had previously been found and photographed elsewhere in Chiribiquete, this Cerro Campana art has never been filmed or photographed, Slee said: “It was an absolutely stunning moment to be able to get the footage.”
Slee used a helicopter to gain access to the area, as the terrain is impenetrable – thick vegetation, forested rock peaks and valleys, sheer cliffs and giant rock towers soaring through a rainforest canopy.
Film-maker Mike Slee [Credit: Francisco Forero Bonell/Ecoplanet]
Professor Fernando Urbina, a rock art specialist from the National University of Colombia, was struck by the “magnificent naturalism” of the depictions of deer when shown the photographs.
“They reveal the hand of a master of painting,” he said, adding that the paintings could be up to 20,000 years old. He was particularly interested in a human figure in a seated position whose arms appear to be folded over his shoulders, a ritual position in Amazonian cultures. “A seated man has special significance as the sage of the tribe,” he said.
The art may have been painted by the Karijona tribe, a few of whose members still live in the region. The seated position might suggest a prisoner or slave, Urbina said.Jean Clottes, a French prehistorian, and author of Cave Art – a book covering key sites such as Lascaux in France – described the images as exciting and well-preserved, but said it would be hard to determine their age because radiocarbon dating could not be used, as they were painted with mineral-based materials derived from iron oxide rather than the charcoal used in European rock art.
The species depicted are thought to include capybaras, snakes and anteaters. Slee described the art as a wildlife chapel. “The peoples who once lived here have left in pictures testimony of their awe and respect for the wild,” he said. “When I saw the images, I honestly felt an affinity with the artists. They were attempting to capture the power, grace, spirit and essence of the animal in pictures. Perhaps it was to make the hunt better next day, but there is clearly careful observation in their art. It’s what contemporary photographers, painters, film-makers set out to do when they create a wildlife project.”
Chiribiquete National Park [Credit: Francisco Forero Bonell/Ecoplanet]
Slee made his name making natural history films and directed the movie Bugs! 3D, about two rainforest insects, narrated by Judi Dench. In 2012, the Observer reported that his Flight of the Butterflies 3D had captured butterflies in unprecedented detail, moving scientists to tears at an early screening. Over the past three years, Slee has been exploring Colombia to make Colombia: Wild Magic, which will be in cinemas next year. Through spectacular footage, it portrays “a majestic tropical wilderness” – but one he said was threatened by humans who are “taking more than they are giving”. With swooping aerial footage and detailed close-ups, it reveals a landscape of canyons and caves, lakes and lagoons, rivers and rock masses with “the largest varieties of living things on the planet”, including unique species of hummingbird and endangered jaguar.
Drawing on the expertise of a dozen scientific advisers, the film warns of threats from the world’s “craving” for natural resources such as gold and emeralds. Slee said: “We’ve got illegal gold-mining polluting the rivers, we’re overfishing the seas, the habitat destruction is massive. We’re taking out the rainforest, we’re losing species every week. We have the most beautiful country on Earth and we are in danger of destroying it. There are places that no Colombian has been. It’s mainly because, when you think of Colombia, you think of kidnapping and drugs.”
Bonell, a Colombian conservationist and photographer, was inspired to become executive producer of the film, describing the region as “one of the few areas on our planet that still remains unspoiled and unexplored”.
The film has been produced by British company Off The Fence, and will be distributed free in schools in Colombia, as well as cinemas, “spreading the word about what their country has and the need to protect it”, Slee said. Slee hopes to return for another large-scale expedition focusing on the rock art. “We’ve probably only scratched the surface,” he said. “There are believed to be many hundreds of these cave paintings dotted throughout that central region.”
Author: Dalya Alberge | Source: The Guardian/Observer [June 24, 2015]
Notre Dame is one of the most iconic buildings in the world. Built from 1160 to 1345, the massive cathedral is one of the most recognizable landmarks of Paris and is one of the finest examples of French Gothic architecture that exists today. For all its storied past, however, little information survives about the architects and designers who raised the building. That’s where art historian and laser modeler Andrew Tallon has stepped in, with new methods of gathering data about Notre Dame that shed light on some of its earliest history.Cathedral of Notre Dame de Paris [Credit: osc-vector.com]
The actual laser modeling is done by mounting a laser from a tripod and shooting the gallery, taking time to measure the distance between the scanner and every point it hits. Each one of these points represents a distance — by mapping millions of points from a single location, historians can measure how the building expands and contracts during the day, as well as how it shifts over longer periods of time. By combining the point cloud data generated by the laser scanner with on-site photographs taken at the same time, Tallon has created extremely accurate models of the underlying structure and design of the cathedral, and identified points where the cathedral’s masons either deviated from the original plan or paused work to allow the ground to settle.
The point cloud data from the laser scans builds a virtual model of the church [Credit: Andrew Tallon/Vassar College]
Tallon’s research, for example, has found that the Gallery of Kings — the massive, three-doorway facade that dominates one side of the cathedral, had shifted almost a foot out of plumb. Researchers had previously suspected that work had stopped on the area for up to a decade, and this new work suggests why that might have occurred. The masons, realizing that the building was shifting in the thin, sandy soil, halted progress to give the ground time to settle and resumed a decade later.
Tallon’s laser scans reveal that some of the columns in the nave of Paris’s Notre-Dame Cathedral don’t line up because they were built around existing structures [Credit: Andrew Tallon]
Other findings from Tallon’s work include data that shows the internal columns of Notre Dame don’t align perfectly, and that workers likely incorporated existing structures in the area as part of the cathedral rather than tearing them out altogether. The flying buttresses, which were often thought to be a later addition to the architecture, were likely installed from the very beginning to counterbalance the effect of the vaulted ceilings (which tended to force the walls outward). External support from flying buttresses would push the walls inward, counterbalancing the vaults. The walls of Notre Dame have scarcely moved since they were constructed — a testament to the exquisitely balanced and counterbalanced supports.
The triple archways of Notre Dame [Credit: Benh Lieu Song/Flickr]
National Geographic has a full update on the process and technology used to create the laser point models and a discussion of the work done at Notre Dame and other Cathedrals. Laser and LIDAR-assisted mapping has become more prominent in recent years, thanks to its ability to show us where long-buried structures or archaeological remains may still exist. Thermal maps and subtle gradation variations can also show remnants of mankind’s activity in an area, even when shifting sands or jungle terrain has obscured the more obvious visual reminders. Human buildings and structures absorb heat differently than surrounding terrain even when buried, which gives us a window into the past when conventional methods or other records come up short.
Author: Joel Hruska | Source: Extreme Tech [June 24, 2015]
The vestiges of Lothal -a city dating back to the 4,400-year-old Harappan civilization -are being obliterated. The city, which lies only 74 km from here, has no guards to protect it. So it is common to see people stealing bits of history . Tourists trample on the structure with little concern for its fragility. The site is overrun with weeds, adding to the picture of neglect and chaos.Ruins of the lower town in the site of Lothal [Credit: Bernard Gagnon/WikiCommons]
Lothal's cemetery is no longer accessible due to wild growth on the approach. The cemetery houses two skeletons found during excavations at the site, carried out between 1955 and 1962.
Lothal, which means `The City of Dead' in Gujarati, attracts legions of visitors, particularly students. A museum containing articles belonging to the Harappan era is another major draw. The excavation sites and museum are under the care of the Archaeological Survey of India ( ASI).
The bathroom-toilet structure of houses in Lothal [Credit: Bernard Gagnon/WikiCommons]
Officials said shortage of funds has lead to a staff crunch, affecting even routine maintenance. The museum gateman has to run to the historical Lothal dock to caution visitors against moving on the precarious structure. Boundary walls of wells are broken. The funds crunch prevents officials from carrying out further excavations.
Tushar Patel, a visitor on Sunday, said he asked the staff for information on the artefacts, but they hardly showed any interest in responding to his queries.
Author: Himanshu Kaushik | Source: The Times of India [June 22, 2015]
Syria's best-known mosaic museum in the northern rebel-held town of Maaret al-Numan has been seriously damaged in a regime barrel bomb attack, according to archaeological experts.The museum in Maaret al-Numan on June 16, 2015 following reported air strikes by Syrian government forces [Credit: AFP Photo/Ghaith Omran]
The Association for the Protection of Syrian Archaeology said the museum "suffered serious damage caused by two explosive-packed barrels dropped Monday by Syrian army helicopters."
The non-governmental organization published pictures of the museum, located in an ancient Ottoman caravanserai, showing entire walls once covered with mosaics collapsed into rubble.
It said that several mosaic panels had been damaged in the eastern portico of the museum, including at least two that were knocked off their display by the force of the blast.
Other pieces were damaged by shrapnel and the pictures published by APSA on its website showed large holes gouged into an oval mosaic with a zig-zag pattern.
Syrian rebel fighters at the museum in Maaret al-Numan on October 17, 2012 [Credit: AFP/Bulent Kilic]
The museum building and surrounding complex, including a historic mosque, were also badly damaged, according to the APSA, with pictures showing several pillars destroyed and sections of roof that had caved in.
Reached by phone in Damascus Saturday, the head of Syria's antiquities, Maamoun Abdulkarim, acknowledged the damage at the museum, but declined to say who was responsible.
This is "a new tragedy for Syrian heritage," said Abdulkarim and called for the country's museums to be "neutral zones" in the war.
"No one, from any side, should harm that which forms our country's history," he said.
The United Nations last year warned that nearly 300 sites of incalculable value for Syria and human history have been destroyed, damaged or looted in the country's conflict.
The warning, based on satellite imagery, followed repeated statements of concern from archaeologists and other experts about the damage being done to Syria's historic sites and the rise in looting of antiquities.
More than 230,000 people have been killed in Syria since the conflict began in March 2011 with anti-government demonstrations before spiraling into a war after a regime crackdown.
Queen Elizabeth led celebrations on Monday to mark 800 years since the sealing of the Magna Carta, one of the world's most significant historical documents and credited with paving the way for modern freedoms and human rights.King John of England was forced to affix his Great Seal to Magna Carta at Runnymede 800 years ago this week [Credit: British Library]
On June 15, 1215, in fields by the banks of the River Thames at Runnymede to the west of London, England's King John agreed to the demands of his rebelling barons and accepted the Magna Carta, Latin for "Great Charter", which for the first time placed the monarch under the rule of law.
In the centuries since, it has taken on huge global significance, becoming the basis for the U.S. Bill of Rights, the U.S. Declaration of Independence and the Universal Declaration of Human Rights. Three of its 63 clauses still remain on Britain's statute book.
"What happened in these meadows eight centuries ago is as relevant today as it was then. And that relevance extends far beyond Britain," British Prime Minister David Cameron said.
He said the document had changed the world, inspiring people from the founding fathers of the United States and Indian independence leader Mahatma Gandhi to Nelson Mandela in South Africa.
"Its remaining copies may be faded, but its principles shine as brightly as ever," Cameron told the ceremony attended by the queen, other royals and global figures including U.S. Attorney General Loretta Lynch.
Magna Carta came into being during a period of great political upheaval in England with conflict between King John, his nobles and the English church.
It was essentially a peace deal to address the problems of the day and was annulled by the pope shortly afterwards. But updated versions, which included two original clauses regarded as pivotal in establishing the rule of law, were re-released regularly by or on behalf of succeeding monarchs.
The clauses read: "No free man shall be seized or imprisoned, or stripped of his rights or possessions, or outlawed or exiled, or deprived of his standing in any way, nor will we proceed with force against him, or send others to do so, except by the lawful judgment of his equals or by the law of the land.
"To no one will we sell, to no one deny or delay right or justice."
Originals Exist
Four original copies of the document, written on a single sheet of parchment about the size of A3 paper, still exist.
At Monday's ceremony, a new art installation was unveiled and the American Bar Association's Magna Carta Memorial, which was erected at the site in 1957, was re-dedicated.
U.S. Attorney General Lynch said the charter was a bedrock to free societies globally, while Cameron also used the anniversary as a political opportunity to underpin his plan to overhaul human rights laws and reduce the influence of Europe.
However, John Dyson, chairman of the Magna Carta Trust, said King John and the barons would have been bemused that the document would garner such interest hundreds of years later.
"They would surely have been astonished that over time Magna Carta came to be regarded as one of the most important constitutional documents in our history," he said.
"They would not have believed that barons' lists of demands would become a symbol of democracy, justice, human rights and perhaps above all, the rule of law for the whole world. But that is exactly what has happened."
Author: Stefan Wermuth | Source: Reuters [June 15, 2015]
Unknown to most, around 45 km from Agra and at a height of 150 feet, there were until some years ago 40 sites of grand cave paintings and shelters that belonged to the Mesolithic period. Today, only a few of them remain. Most have been lost to illegal stone mining and the government's disregard for history and heritage.An aerial view of the cave situated 45 km off Agra [Credit: TOI]
When TOI visited the four villages — Rasoolpur, Patsal, Madanpura and Bandroli — where this ancient art is located, it found that almost 70% of the paintings had been destroyed, and only the efforts of a few persevering villagers had enabled the remaining specimens to somehow escape destruction. Dal Chand Dhuliya, an elderly resident of Madanpura, spoke for many villagers when he said, "We know that once these paintings are destroyed, they can't be recovered. We keep an eye on them at present, but for how long will they survive, and how long can we keep protecting them?"
The Archaeological Survey of India (ASI) amazingly has not done much to protect these paintings. When probed on why the agency has not initiated any action on preserving this heritage, ASI superintending archaeologist Bhuvan Vikrama said, "We will try and save the remaining works of art and are working on a proposal. It will be sent to the headquarters for approval."
Over 70% of the cave paintings have disappeared due to illegal mining.
70% of the cave paintings have already been destroyed by illegal mining activities [Credit: TOI]
The remaining paintings, some still shining out in colours of maroon and ochre, show ancient men domesticating cattle as well as engaged in hunting. Some of them depict animals like elephant and bull. The best specimens, though, are at Patsal where there are two sites locally known as Sita ki Rasoi and Nai ki Gufa. Sita ki Rasoi is a natural cave situated at a height of 150 feet where ancient men probably lived. Inside it, there is a depiction of a character that looks like a bison. At Nai ki Gufa, deer and sambar can be seen in the paintings.
M K Pundhir, medieval archaeologist from the Centre of Advance Studies in History, Aligarh Muslim University, testifies to the antiquity of this art. "The paintings are definitely from the Mesolithic period as they depict animals of four legs with smaller size and linear decoration which is how they were portrayed at that time."
Meanwhile, an ASI official said that the caves were first discovered in 1967 in Rasoolpur at one site and later at adjoining places around 1976. When queried as to why they were not preserved by the archaeological body then, the official response was that it should have been done, but the agency's focus was more on the monuments of the area.
Author: Aditya Dev | Source: Times of India [June 08, 2015]
Museum experts from around the world on Monday issued an "emergency red list" to help authorities identify Iraqi antiquities at risk of being looted and illegally exported as the country battles a surge in jihadist violence.
The list from the Paris-based International Council of Museums (ICOM) highlights objects that are popular on the black market such as sculptures, stone tablets, vases and coins, and tells customs and police officers how to spot stolen ancient treasures.
"In recent months we have witnessed massacres of minorities in Syria and Iraq but also the destruction of priceless works of cultural heritage," the head of Paris's famed Louvre Museum, Jean-Luc Martinez, said at a press conference presenting the new list.
"These are two parts of the same strategy that has been described as 'cultural cleansing' which seeks to erase entire segments of human history," he added.
Items on the list range from millennia-old Mesopotamian goods to 19th-century artefacts from the reign of the Ottomans.
ICOM's president Hans-Martin Hinz said that since 2000 the organisation has published red lists for over 25 nations.
"It is a solution with proven results," he said, adding that art dealers should "stop buying objects that come from Syria and Iraq."
Created in 1946, ICOM brings together over 35,000 members including museum professionals in 137 countries and cooperates with UNESCO, the World Customs Organization and Interpol to fight against the illicit trafficking of antiquities.
Iraq's cultural heritage is protected by national laws and international conventions.
