Until June 2013, that is. Then, new excavations started under the leadership of Dr Chirikure from the University of Cape Town. Chirikure and his team discovered a large area with massive stone walls, huge piles of fossilised animal excrement, pottery, spinning wheels and thousands of glass beads that testify to thriving trade with other countries, probably India and China. Carbon dating indicates that Mapela was as a flourishing community that existed continuously from the early 8th century until well into the 18th.

'Mapela lies virtually untouched in a rather inaccessible area, and is unique in several respects,' says Per Ditlef Fredriksen, associate professor of archaeology at the University of Oslo. Since June 2014 he has been Dr Chirikure's collaboration partner and head of the research project that will dig deeper into the ecological history of Mapela to find out more about how people and the environment mutually affected each other in the Shashi-Limpopo region.

Mapela is unique, but also one of many

Ecological history studies the complex interplay between people and the environment through the centuries.

'In other words, the question is not only how people have adapted to climate change; it's also a fact that urban societies generate climate change,' Fredriksen points out.

The forgotten stonewalled site at Mapela Hill will be used as a case study in the project, but this is only one of a number of urban, historical communities that have been discovered in the Shashi-Limpopo region. The more famous ruined cities of Khami and Great Zimbabwe, both on UNESCO's World Heritage List, are also located in this part of Southern Africa.

'We are undertaking excavations in several locations in the area to obtain a better understanding of the development of all these world heritage sites, since the relationship between them remains unclarified.'

More concerned with the common folk

Until now, researchers have been mostly concerned with the elite and the elite culture that has been uncovered in places such as Great Zimbabwe and other well-known historical sites in the region. The common folk, on the other hand, were not deemed to be of equal interest ‒ until now.

'We wish to learn more about the relationship between the common population and the elite. Part of Mapela's uniqueness is that this site shows traces of all the three elite cultures in the area. The material culture testifies to this fact,' Fredriksen explains.

'Especially the jewellery, but even the fantastically constructed stone walls are extremely rich in symbols. Our findings in Mapela include traces of the stone walls of Khami.'

Using climate data from the start

'Climate and the environment have previously been topics raised in the debate over the urbanisation of Southern Africa. However, this new interdisciplinary project proceeds several steps further in the direction of natural science,' Fredriksen says.

'We include climate data at an early stage when establishing research questions. Our objective is to obtain a deeper insight into the associations between climate, environment and socioeconomic and political strategies.'

Today, Mapela is located in an underdeveloped and marginal agricultural area, and researchers have assumed that this was an arid region earlier as well, and that Mapela was a regional centre of little importance. New findings, however, indicate the opposite.

A society against all odds

Mapela must have been larger than the known locality of Mapungubwe, where the elite is thought to have lived. Perhaps even the climate was quite different in earlier times.

'Was Mapela a community that existed against all odds?'

'That is an extremely interesting question. After all, Mapela continued to exist for centuries, while other communities, such as Mapungubwe, perished. Why? This is one of the questions we will attempt to answer.'

'Could this project provide new knowledge about the ways in which societies have adapted to climate change?'

'It's very complex, but hopefully we will be able to contribute to this,' says Fredriksen. He refers to the achievements of the University of Cape Town in the field of climate research.

'We are in this project to learn from the South Africans, and we have a lot to learn from them,' he concludes.

For more information see: Zimbabwe Culture before Mapungubwe: New Evidence from Mapela Hill, South-Western Zimbabwe. PLoS ONE (2014)

Author: Mari Kildahl | Source: University of Oslo [May 30, 2015]

Car factory in Paris

AREP builds on city's historic legacy with redevelopment of former car factory in Paris. AREP has redeveloped the former Panhard car factory in Porte d'Ivry, Paris, applying exciting design choices to work with the city's existing heritage.

The Panhard and Levassor workshops were partially demolished in 1967 to create the Olympiades district. They are the last remnants of a thriving industrial past, after the demolition of all the automobile plants in Paris: the Renault facilities on Ile Séguin, Citroën in Javel and part of the Panhard factory at Porte d'Ivry.

Between 2007 and 2013, AREP extended and entirely refurbished the building to create 21,000 sq m of office space as well as public facilities (a nursery and the premises of a non-profit organisation running a day centre for the homeless). The firm worked with architects Jean-Marie Duthilleul and Etienne Tricaud and with Benoît Ferré and Serge Caillaud (Phase 1 and Building Work Management).

In an environment dominated by the verticality of high-rise residential blocks, the project keeps the former factory alive, sustains its horizontality and unique architectural style and relies on the ornamental features of the existing façades: materials, dominant chromatic palette and contour line.

The brick façade provides a mineral base extending the current façades while the openings are in line with the rhythm of the original building. Each, partially or entirely, new façade forms a coherent whole with the reinforced mineral angles providing the framework for a more open sequence in the centre.

Two large industrial-style statuesque boxes loom above the roof-top mouldings, clad in a double semi-transparent layer of glass and perforated coppery metal and echoing the tiles on the saw tooth roofs. These are intended as a metaphor of the former industrial features.

The adjacent cut of the Petite Ceinture (an abandoned railway line) was decked over to create a garden. Planted with ground covering plants, shrubs and trees, the garden slopes down from Rue Regnault to the new garden level, reflecting the characteristic bucolic image of the embankments of the Petite Ceinture, where vegetation takes over any available space.

The new extension houses a nursery in its north-east corner and a day centre for the homeless in its north-west corner, both situated on the garden and ground-floor levels.

The work spaces inside the building are designed to facilitate contact, interaction, formal and informal relations. This result is achieved through clearly designed spaces (atrium and vertical access flows), quality of the working environment (natural light, acoustics and ergonomics) and green spaces.

VIA «Redevelopment of the Car Factory In Porte d'Ivry [France, Paris]»

It seems, however, that these social media applications do potentially more harm than good -- by allowing archaeology and the future of collective cultural heritage to be swept away by naive initiatives without strategic oversight. The archaeological record and the archaeological profession are at stake, local communities face unequal access to their own heritage and archaeologists themselves become all too often a subject of abuse and exploitation.

An article published today in Open Archaeology focuses on the current state of the social web in the development of archaeological practice, and reflects on various conscientious activities aimed both at challenging current online interactions, as well as at positioning archaeologists as more informed innovators of the web.

Sara Perry and Nicole Beale, both from The University of York, surveyed the field in search of active social web initiatives in archaeology, studying their development and evaluation and assessing their impacts on other people, on cultural heritage itself and on the world at large. They found out that archaeologists have been drawing on social media and crowdsourcing/crowdfunding tools since their appearance on the web, and also that despite this long history of involvement, there is little evidence that they are aware of their (often dangerous) impacts.

It seems that these social web applications have not only put archaeologists themselves in danger, exposing them to severe online harassment and abuse, but that they are also draw local communities into exploitative labour practices, and seemingly enable a devolution of responsibility for, and weakened oversight of, the archaeological record. In so doing, the use of the web appears to be relieving the government and the cultural custodians of their duties to protect and conserve the historic environment for the future.

The authors argue that archaeology could adopt a more obvious social justice stance, using web-based media to advocate for cultural change and to bring attention to the short-sighted politics which are threatening our collective cultural heritage.

Source: De Gruyter Open [May 27, 2015]

The first phase of the project covers 18 sections of the "Great Wall of Qi" with a total length of 61 km. It will cost 208 million yuan (34 million U.S. dollars), according to Xie Zhixiu, head of the provincial cultural heritage administration.

Shandong will also launch projects this year to protect the natural environment and ancient military facilities along the Wall, said Xie.

Built between 770 BC and 476 BC in the ancient state of Qi, today's Shandong, the Great Wall of Qi started at a small village in what is now Changqing District of Jinan City, with passes, gates, castles and beacon towers along a total length of 641 km till it met the sea near Qingdao.

Due to natural erosion, construction, mining and land reclamation, the Great Wall of Qi is in a worsening condition.

As military defense projects, more than 20 emperors in ancient China ordered the building or renovation of walls and fortifications. The Great Wall of China was made a World Heritage Site in 1987.

Source: Xinhua [June 26, 2015]

Dazzling: The Duke and Duchess of Cambridge arriving at the Ark Gala Dinner at Kensington Palace
Kate's style has been scrutinised since officially becoming a member of the Royal family following her wedding to Prince William in April.
With her recent appearances meeting the Obamas at Buckingham Palace - and watching the horse racing at the Epsom Derby at the weekend - she tested the sartorial water with simple but chic pieces.
Star attraction: William and Kate didn't disappoint on their first official public engagement as a married couple
However, the Duchess pulled out all the stops for this evening's glamorous event.
William and Kate are attending the reception with 900 other guests at Perks Field and will later sit down to a private dinner before the prince gives a speech.
Musician Mark Ronson and his band will perform for the royals and guests.
The Duke and Duchess are attending on behalf of the Foundation of Prince William and Prince Harry - a body which raises sustainable funds for charitable grants.
Glowing: Kate's beautiful gown was teamed with LK Bennett shoes and a clutch bag
The gala dinner was held in an enormous luxury marquee which appeared more like a small building.
As the guests arrived, a troupe of divers entertained them by diving acrobatically into a specially constructed pool.
When the royal couple's Jaguar limousine pulled up, they were greeted by calls from banks of photographers asking them to pose for a picture.
Financier Arpad Busson, co-founder of the organisation, warmly welcomed them before they climbed a few steps to the entrance of the building before posing and smiling for the waiting cameras.
Outside the banquet hall was a covered reception area with two champagne bars and stalls serving sumptuous canapes from the Mediterranean and Far East where guests gathered before dinner was served.
Hot ticket: The couple's presence at the gala will shine a spotlight on work carried out by the charity
The Duke and Duchess mingled with some of the more prominent figures or chatted to associates of their host, Mr Busson, known as Arki to his friends.
William and Kate were the centre of attention with people crowding around them to get a view of the newlyweds or take their picture on camera phones.
Mr Busson has two sons with his former partner, model Elle Macpherson, and in recent years has dated actress Uma Thurman.
The royal couple chatted to his sons, Flynn Busson, 13, and his eight-year-old brother, Cy, laughing and joking with them.
After about 45 minutes, they made their way into the circular banqueting room which was filled with almost 100 oval tables.
Meet and greet: From left to right, financier Arpad Busson, Prince William, the Duchess of Cambridge and Ian Wace, also a co-founder of Ark
Among the guests seated on the Duke and Duchess's table were Oscar-winning actor Colin Firth, actress Liz Hurley, socialite Jemima Khan and broadcaster Mariella Frostrup.
Elizabeth Murdoch, the daughter of media tycoon Rupert Murdoch, also had a place, as did William's private secretary, Jamie Lowther-Pinkerton, and Baroness de Rothschild.
Anish Kapoor, the British-based, Indian-born sculptor, who won the Turner Prize in 1991, was another guest with a seat close to the Duke and Duchess.
Kate sat between Crown Prince Pavlos of Greece, a distant relative of William, and Mr Busson, while her husband was opposite her with socialite Countess Debonaire von Bismarck on his left and Princess Marie of Greece on his other side.
Wrapped around the edge of the room was a multi-coloured dot-matrix display which would later be used to show the bidding for charity lots that included a stay on the Maltese Falcon - the world's largest sailing yacht - or a Kenyan safari at a luxury lodge.
Captivating: Kate seems to have taken to public life with ease as she chats with Matthew Freud
On the tables were tiny consoles to allow the wealthy guests to place their bids and around the room were swings for performers to use to entertain the guests.
Musician Mark Ronson and his band were due to entertain the diners later and a mystery band - rumoured to be the Kings Of Leon - were also performing.
The £10,000-a-head dinner will also feature auctions to raise donations for Ark, which has projects helping disadvantaged children around the globe.
In the UK it sponsors a number of academy schools and runs other projects like Teaching Leaders and Future Leaders.
Ark was co-founded in 2002 by the financier Arpad Busson, who now acts as a trustee of the organisation.
A spokeswoman for the charity said: 'Over the past 10 years, Ark's programmes in the UK, Southern Africa, eastern Europe and India have transformed the lives of more than 200,000 children.
'In tackling access to healthcare in sub-Saharan Africa, improving educational opportunities in the UK, US and India, and giving children the chance to live in a caring and nurturing environment in Eastern Europe, Ark is helping to overcome some of the most severe blights on children's lives.


Star quality: Liz Hurley, Sophie Dahl and Jemima Khan arrive at the gala
source: dailymail

VIA The Duchess dazzles: Kate and William bring a touch of glamour to charity gala

The Faena District in Argentina is now home to Foster + Partners’ first completed project in Latin America. Owned by Faena Group, the district totes architectural designs by some of the industry’s most expressive figures including Philippe Starck whose Faena Hotel incorporates a number of recycled silos and the Faena Arts Center by Mike McCormack and Faena Group Architects which evolved from an old mill.

“Faena District was inspired by a desire for redefining the concept of ‘dwelling’ and ‘habitat’, and was conceived as a constantly evolving work of art, a unique piece that offers an alternative lifestyle - different, rich, engaging. We are seeking to redefine how we live in cities, by combining culture, green spaces and architecture: we want to generate more general awareness.”

“The Aleph is a building that is very much borne of its place. From the traditional Buenos Aires house, which takes advantage of the climate to combine outdoor with indoor living, to the industrial architecture legacy of the Puerto Madero District, the Aleph creates a wonderful new living environment that is unique to the Faena Arts District.” says Brandon Haw, Senior Partner, Foster + Partners.

VIA «Faena Aleph Residences [Argentina, Buenos Aires]»

Commercial Mailboxes for houses

Residential Mailboxes for cottages

VIA «Mailboxes for apartments and cottages»

Artificial Island (United Arab Emirates)

Architect Alexander Krasinski has presented materials of the project of artificial island in Persian gulf (United Arab Emirates), developed for the purpose of creation of the alternative agglomeration, capable to solve a problem, actual for the given region for today.

Futuristic Island in Persian Gulf

The architectural conception of the futuristic green project is inseparable from a solution of a problem of globalization of influence of the person on environment, and also rising of sea level and taxes.
Differently, on this urbanistic island it's possible to create the whole new state with powerful Eco-system, own the legislation and an advanced policy of economic structure.

The Futuristic Eco-project

The futuristic island is located in territory of ocean and has internal seaport and the airport in immediate proximity from a Eco-zone with areas of smart ecology.
Also, the original architectural project provides ultra-modern office, administrative, governmental and academic centers, comfortable inhabited apartments, territory for walks, rest, sports.

VIA «The Eco Project in Emirates»

Federal Environment Minister Greg Hunt has told Fairfax that he believes the Budj Bim landscape – stony rises from Mt Eccles near Macarthur to a prehistoric aquaculture system on Lake Condah and south to Tyrendarra wetlands – was an outstanding site that had the potential to achieve World Heritage status.

He has invited the Victorian government to complete an independently audited assessment to prove compliance with world heritage values.

If that showed there were "recognised outstanding universal values, then I would be delighted to propose this as a tentative item for listing by the World Heritage Committee", he said.

The Victorian Premier, Daniel Andrews, has written to Mr Hunt stating the Victorian government's full support for listing Budj Bim, and has forwarded a peer-reviewed study by leading scientists and archaeologists that finds the landscape is of international significance and that the criteria for listing is fully justified.

Budj Bim – the Indigenous name of Mt Eccles which produced the lava flow that was settled by the Gunditjmara Indigenous people thousands of years ago –  is already on the Australian National Heritage Register.

World Heritage listing would elevate it to the status of the Great Barrier Reef, one of the 19 Australian sites currently receiving international protection.

The Gunditjmara are considered unique in Australia. They lived in large villages constructed of stone huts and harvested eels and fish in a sophisticated network of weirs and traps, dated to at least 6600 years ago, that meant they had no need of a nomadic lifestyle.

The Gunditj Mirring Traditional Owners Aboriginal Corporation, backed by teams of archaeologists, historians and independent heritage experts, having been gathering evidence for a decade to support the nomination for UNESCO World Heritage listing.

Author: Tony Wright | Source: The Age [June 05, 2015]

"The fact of the matter is that physical weathering, deterioration and damage to marble and other architectural stones present a serious problem for the preservation of sculptures, monuments and buildings," said Luzin.

David: A sculpture made from Carrara marble

Before its relocation in Galleria dell'Accademia, David, the "Giant", was  symbolically displayed in the political heart of Renaissance Florence, the Piazza della Signoria. Over a period of almost three centuries, the statue was exposed to the action of weather, historical events and inappropriate restoration works. These coexisting factors prevented the appropriate preservation of a masterpiece that, already at the time of its creation, was regarded as challenging by many artists—due to the presence of taroli, imperfections of the marble.

Today David is in a highly stable condition but still presents a contemporary scientific challenge from a conservation point of view. Researchers are monitoring marble cracking of the 4.3 metre David with a system of sensors that record vibrations, rotations and environmental conditions. [1] Conservationists monitor the sculpture because it is thought that even small mechanical impacts and small temperature variations are detrimental to marble.

Geologically marble is formed by the alteration (metamorphism) of limestone under high temperature and high pressure. The metamorphic process causes a complete recrystallization of the original rock into an interlocking mosaic of calcite and/or dolomite crystals with very specific mechanical behaviour.

Carrara marble, the stone used by Michaelangelo in sculpting David, was  one of the most popular types of marble in the world because of its beauty and high lustre. For centuries it was quarried from the Apuan Alps in Tuscan Italy.

The popularity of Carrara marble was due in part to the wide range of varieties available (statuary, flowered, veined, brecciated, bardiglio, etc.), to the constancy of its quality, scarcity of defects, large size of single blocks that could be extracted, excellent physical and mechanical characteristics, and long-lasting strength and beauty." [2]        

However the suitability of marble from the Carrara area of Italy for buildings and artworks has been questioned because of 'spectacular bowing behaviour' of marble slabs on numerous modern buildings including the Amoco building in Chicago and the Grand Arche de la Defense in Paris.

A study of Carrara marble by a group of investigators led by Luzin have confirmed that microstresses caused by temperature variation and the thermo-mechanical properties of the marble itself help explain the deterioration. Co-investigators are Dimitry Nikolayev of the Joint Institute for Nuclear Research in Moscow and Siegfried Siegesmund of theUniversity of Göttingen in Germany.

The investigators were interested in the different environmental conditions that influence marble deterioration and had to reproduce factors known to be important to the process of deterioration. Temperature effects were among those known to cause mechanical stress.

Luzin and collaborators used non-destructive neutron diffraction to confirm that thermally-induced microstress from a single thermal exposure can cause microcracking in the marble and therefore be responsible for weathering and deterioration of the marble [3].

"Neutron diffraction is a useful tool and a non-destructive method to investigate the texture, phase composition and spatial and orientation dependence of strain in a bulk marble sample," explained Luzin.

Although the commercial use of statue-grade Carrara marble is no longer allowed, an exception is made for restoration works and scientific research. Freshly cut marble from a quarry in Carrara, Italy was used for the testing.

"Although not easy, stress measurements in geological materials, such as marble are feasible and provide valuable characterisation," said Luzin.

He explained that the challenges are related to the need to measure two phases with sufficient accuracy. It is necessary to use a large gauge volume because of the coarse grain microstructure and longer measurement time in order to capture very delicate effects of microstress in calcite and dolomite—which are also very weak neutron scatterers.

The neutron high resolution powder diffractomter, Echidna, determined the amount of each phase in two cube samples of marble. In one sample, the dolomite comprised a volume fraction of 28 per cent  and in the other it was 18 per cent, which is not surprising given the highly visible non-uniform distribution of dolomite in the marble.

The Kowari diffractometer was used to produce pole figures, graphical representations that   capture the preferred crystallographic orientation (texture) of the calcite and dolomite. "A weak crystallographic texture in both phases was confirmed in the neutron diffraction experiment," said Luzin.

The stress experiments were carried out using the Kowari diffractometer in a specially designed sample environment unit in order to control temperature. "We took measurements of the calcite and dolomite phases at room temperature and at 80° C."

Using a technique to measure the stiffness of an elastic material, the researchers were able to accurately measure the accumulated damage after a thermal exposure that could be unambiguously attributed to microcracking.

"Evidently, a significant change in microstress caused micro-cracking in the marble sample due to temperature changes," said Luzin.

Although exaggerated temperature might not be relevant to real daily and seasonal temperature variation, smaller, more numerous natural temperature variations during long periods of time might result in even greater accumulated damage. There are historical examples of sculpture which deteriorated into a pulverised state after a century of exposure to temperature variation.

"We have a responsibility to try and preserve great works of art and architecture with non-destructive techniques and nuclear technologies give us the means to do this. Hopefully David and other important monuments can be preserved in the centuries to come," said Luzin.

References

[1] Giovanni Pascale, Filippo Bastianini, Roberto Carli, "Monitoring Marble cracking in the David by Michaelangelo Proc. Art'11, 10th Int. Conf. on Non-Destructive Investigations and microanalysis for the diagnostics and conservation of cultural and environmental heritage, Florence, April 13th-15th, 2011, NDT44

[2] Stephano Merlino Paolo Orlandi "Carraraite and zaccagnaite, two new minerals from the Carrara marble quarries: their chemical compositions, physical properties, and structural features" American Mineralogist, Volume 86, pages 1293–1301

[3] 310.4028/www.scientific.net/MSF.777.148. Luzin, V; Nikolayev, D and Siegesmund, S, Temperature Induced Internal Stress in Carrara Marble, Mater. Sci. Forum 777, 148-154 (2014)

Source: Australian Nuclear Science and Technology Organisation (ANSTO) [June 22, 2015]

Residence in Austin, TX

The private residence «Cat Mountain» designed by Cornerstone Architects, located in Austin, Texas, USA. The architects restored the original house and added to it an impressive annex, the owner also worked independently on the design of the interior. The residence blends harmoniously with the natural environment, and sustainable design elements of the project are added respectability.

VIA «The Harmonious Residence in the U.S., state of Texas»

New Interior of the Bank

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).

Deutsche Bank, Frankfurt am Main

VIA «Brand Space of the Deutsche Bank»

VIA Uranium's Impact on Heavy Music, in the words of Mistress Juliya

City in a miniature

VIA «Entertaining ecology in Hamburg»