A thought-provoking and richly illustrated look at tradition and innovation in the work of the world-renowned architect

Architecture for the Poor describes Hassan Fathy's plan for building the village of New Gourna, near Luxor, Egypt, without the use of more modern and expensive materials such as steel and concrete. Using mud bricks, the native technique that Fathy learned in Nubia, and such traditional Egyptian architectural designs as enclosed courtyards and vaulted roofing, Fathy worked with the villagers to tailor his designs to their needs. He taught them how to work with the bricks, supervised the erection of the buildings, and encouraged the revival of such ancient crafts as claustra (lattice designs in the mudwork) to adorn the buildings.

This book discusses architectural excellence in Islamic societies drawing on textual and visual materials, from the Aga Khan Documentation Center at MIT, developed over more than three decades. At the core of the discussion are the efforts, processes, and outcomes of the Aga Khan Award for Architecture (AKAA). The AKAA recognises excellence in architectural and urban interventions within cities and settlements in the Islamic world which are continuously challenged by dramatic changes in economies, societies, political systems, decision-making, and environmental requirements. Architectural Excellence in Islamic Societies responds to the recurring question about the need for architectural awards, arguing that they are critical to validating the achievements of professional architects while making their contributions more widely acknowledged by the public. Through analysis and critique of over sixty awarded and shortlisted projects from over thirty-five countries, this book provides an expansive look at the history of the AKAA through a series of narratives on the enduring values of architecture, architectural and urban conservation, built environment sustainability, and architectural pluralism and multiple modernities. Architectural Excellence in Islamic Societies will appeal to professionals and academics, researchers, and upper-level students in architectural history and theory and built environment related fields.

The American Journal of Islamic Social Sciences (AJISS), established in 1984, is a quarterly, double blind peer-reviewed and interdisciplinary journal, published by the International Institute of Islamic Thought (IIIT), and distributed worldwide. The journal showcases a wide variety of scholarly research on all facets of Islam and the Muslim world including subjects such as anthropology, history, philosophy and metaphysics, politics, psychology, religious law, and traditional Islam.

The American Journal of Islamic Social Sciences (AJISS), established in 1984, is a quarterly, double blind peer-reviewed and interdisciplinary journal, published by the International Institute of Islamic Thought (IIIT), and distributed worldwide. The journal showcases a wide variety of scholarly research on all facets of Islam and the Muslim world including subjects such as anthropology, history, philosophy and metaphysics, politics, psychology, religious law, and traditional Islam.

Modern Architecture: The Basics examines technological, stylistic, socio-political, and cultural changes that have transformed the history of architecture since the late 18th century. Broad definitions of modernity and postmodernity introduce the book, which comprises 24 short thematic chapters looking at the concepts behind the development of modern and postmodern architecture. These include major historical movements, key figures, and evolving building typologies. There is also an emphasis on the changing city during the 19th and 20th centuries. Approaches to representation and its impacts on architecture are studied, along with the changing global role of architecture as cultural expression. The book introduces new topics, including gender, race, postcolonialism, and indigeneity. An undaunting, contemporary, and inclusive account of modern architectural history, this is a must-read for all students of architecture as well as those outside the discipline approaching the subject for the first time.

The history of the struggles for control over Egypt's antiquities, and their repercussions, during a period of intense national ferment The sensational discovery in 1922 of Tutankhamun’s tomb, close on the heels of Britain’s declaration of Egyptian independence, accelerated the growth in Egypt of both Egyptology as a formal discipline and of ‘pharaonism'—popular interest in ancient Egypt—as an inspiration in the struggle for full independence. Emphasizing the three decades from 1922 until Nasser’s revolution in 1952, this compelling follow-up to Whose Pharaohs? looks at the ways in which Egypt developed its own archaeologies—Islamic, Coptic, and Greco-Roman, as well as the more dominant ancient Egyptian. Each of these four archaeologies had given birth to, and grown up around, a major antiquities museum in Egypt. Later, Cairo, Alexandria, and Ain Shams universities joined in shaping these fields. Contesting Antiquity in Egypt brings all four disciplines, as well as the closely related history of tourism, together in a single engaging framework. Throughout this semi-colonial era, the British fought a prolonged rearguard action to retain control of the country while the French continued to dominate the Antiquities Service, as they had since 1858. Traditional accounts highlight the role of European and American archaeologists in discovering and interpreting Egypt’s long past. Donald Reid redresses the balance by also paying close attention to the lives and careers of often-neglected Egyptian specialists. He draws attention not only to the contests between westerners and Egyptians over the control of antiquities, but also to passionate debates among Egyptians themselves over pharaonism in relation to Islam and Arabism during a critical period of nascent nationalism. Drawing on rich archival and published sources, extensive interviews, and material objects ranging from statues and murals to photographs and postage stamps, this comprehensive study by one of the leading scholars in the field will make fascinating reading for scholars and students of Middle East history, archaeology, politics, and museum and heritage studies, as well as for the interested lay reader.

This is the Proceedings of the International Congress of Graphic Design in Architecture, EGA 2018, held in Alicante, Spain, May 30-June 1, 2018. About 200 professionals and researchers from 18 different countries attended the Congress. This book will be of interest to researchers in the field of architecture and Engineering. Topics discussed are Innovations in Architecture, graphic design and architecture, history and heritage among others.

Following the tradition and style of the acclaimed Index Islamicus, the editors have created this new Bibliography of Art and Architecture in the Islamic World. The editors have surveyed and annotated a wide range of books and articles from collected volumes and journals published in all European languages (except Turkish) between 1906 and 2011. This comprehensive bibliography is an indispensable tool for everyone involved in the study of material culture in Muslim societies.

In the last years of the nineteenth century, the Tunisian city of Qayrawān suddenly found itself covered in murals. Concentrated on and around the city’s Great Mosque, these monumental artworks were only visible for about fifty years, from the 1880s through the 1930s. This book investigates the fascinating history of who created these outdoor paintings and why. Using visual archaeological methods, William Gallois reconstructs the visual history of these works and vividly brings them back to life. He locates pictorial records of the murals from the backdrops of photographs, postcards, and other forms of European ephemera. In Qayrawān, he identifies a form of religious painting that transposed traditional aesthetic forms such as house decoration, embroidery, and tattooing—which lay exclusively within the domains of women—onto the body of a conquered city. Gallois argues that these works were created by women as a form of “emergency art,” intended to offer amuletic protection for the community, and demonstrates how they differ markedly from “classical” Islamic antecedents and modern modes of Arab cultural production in the Middle East and North Africa. Based on extensive archival research, this study is both a record of a unique moment in the history of art and a challenge to rethink the spiritual force and agency of a group of anonymous female artists whose paintings aspired to help save the world at a time of great peril. It will be welcomed by scholars of art history, Islamic studies, Middle East studies, and the history of magic.