Art Jameel’s Post

Professor of #Architecture Dr Mirjana Lozanovska, from Deakin's Faculty of Science, Engineering and #Built #Environment, will present at the roundtable discussion Migration. Women. Architecture. as part of 2024 #MelbourneDesignWeek. Learn more about Dr Lozanovska's research: https://lnkd.in/e_JZcnm4

“Women constitute nearly half of the construction workforce in the country, and yet their role is overlooked. Through the exhibition 'Samatva – Shaping the Built' at the India Art, Architecture, and Design Biennale 2024, this article presents questions urging the architectural fraternity to support the feminist practices nurturing sensitive and able designers leading by example, with hopes that it becomes the industry norms.” Rushali Rohira & Shreya Rajmane from our team write about the need for #genderequity in architecture & construction ArchitectureLive! https://lnkd.in/dmdFNgeU

All the architects in this book deserve international recognition. The reality is, though, that few are household names. Over the last decade, awareness of the need for gender balance in architecture has gained traction. Within the profession, women remain underrepresented, underpromoted and underpaid. Failure to acknowledge women’s contribution to the built environment has perpetuated this cycle and impoverished us all. By showcasing 100 exceptional architects – who happen to be women – this book provides a flagship reference to inspire and support everyone working in the profession, no matter how they identify. Global in outlook, the book presents an equitable sample of architects from every continent. We all need heroines as much as heroes. Through illustrated interviews, each woman shares how they are responding to a profound disconnect between architecture and the people and landscape it serves. Their visions, methods and models of leadership are essential to connecting the needs of humans and the planet. In the words of Indigenous Canadian architect Eladia Smoke: ‘Now is a critical time to seek out every opportunity to transmit this knowledge to future generations.’ Featuring:  100 interviews with leading women architects, including: Tatiana Bilbao, Odile Decq, Liz Diller, Julia Gamolina, Dorte Mandrup and Farshid Moussavi. Over 400 photographs and drawings. Geographically balanced selection, with profiles across every continent. #architects #recognition #leadership #exceptional For offers and orders you can contact us at 0739110120 or office@booksen.ro.

Save the date! Another webinar is heading your way! Alterations: A Review of Requirements in the ADA and ABA Standards Thursday, October 3rd, 2:30 PM ET - 4:00 PM ET Determining what is required to be accessible when an existing facility is altered or expanded can be challenging. This session will review how the 2010 ADA Accessibility Standards and the Architectural Barriers Act Accessibility Standards apply to planned alterations and additions. Presenters will clarify common sources of confusion, including what type of work constitutes an alteration, how the scope of work determines the application, the exception for technical infeasibility, the provisions for primary function areas and accessible paths of travel, some exceptions specific to alterations, and the exceptions for historic facilities. This webinar is hosted by the Great Lakes ADA Center and the United States Access Board. Learn more about this event and how to register here: https://lnkd.in/gju6c4a9 #ADA #ABA #Accessibility

BIG NEWS on the ARCHITECTURAL COMPETITIONS front! See below:

Visit FAME collective’s RIBA Exhibition “Exposing the Barriers in Architecture, from a FAME (Female Architects of Minority Ethnic) Perspective.” RIBA Library, 66 Portland Place, London W1B 1AD EXHIBITION DESIGN This exhibition design was led and curated by Tumpa Husna Yasmin Fellows, founder of FAME collective, and co-created by FAME collective. The exhibition documents FAME collective’s research projects, communicating underrepresented voices and the lived-experiences of barriers in architecture. Mapping the pathways to success, how to navigate the barriers and providing valuable recommendations for those experiencing barriers and those in power to make a change. The design of the central and the primary exhibit has been influenced by the ‘feminine embodiment practice’, from the concept of the Nakshi Kantha (traditional Bangladeshi diaspora embroidery technique). The concept involves re-using layers of recycled fabric and diverse materials, used to co-design the ‘pathways to success in architecture’, by delving into the narratives of the lived experiences of the barriers, from a FAME perspective. Setting up the exhibition provided a unique opportunity for collaboration, dialogue and most importantly the building of relationships and friendships within the team. RESEARCH PROCESS The research is explored through an intersectional feminist lens to amplify the underrepresented voices in architecture. Conducted through a range of participatory methods and by engaging with the community of practitioners and students of architecture. Therefore, directly challenging institutions such as the RIBA, Architects Registration Board (ARB), universities and practices, by disseminating the findings and evidence-based research. FAME collective’s research dissemination led to ARB's recent policy changes, to remove the policy barriers in architecture by increasing access to the architecture profession for a wider demographic. Ultimately, this research acts as a tool for activism; and highlights systemic inequities in architecture by documenting the lived experiences' narrative as a valuable form of research tool. #exposingbarriersinarchitecture #famecollective #riba #equity

Visit FAME collective’s RIBA Exhibition “Exposing the Barriers in Architecture, from a FAME (Female Architects of Minority Ethnic) Perspective.” RIBA Library, 66 Portland Place, London W1B 1AD EXHIBITION DESIGN This exhibition design was led and curated by Tumpa Husna Yasmin Fellows, founder of FAME collective, and co-created by FAME collective. The exhibition documents FAME collective’s research projects, communicating underrepresented voices and the lived-experiences of barriers in architecture. Mapping the pathways to success, how to navigate the barriers and providing valuable recommendations for those experiencing barriers and those in power to make a change. The design of the central and the primary exhibit has been influenced by the ‘feminine embodiment practice’, from the concept of the Nakshi Kantha (traditional Bangladeshi diaspora embroidery technique). The concept involves re-using layers of recycled fabric and diverse materials, used to co-design the ‘pathways to success in architecture’, by delving into the narratives of the lived experiences of the barriers, from a FAME perspective.

In a world increasingly defined by globalization, the intricate tapestry of local cultures often finds itself at the mercy of foreign influence. The recent announcement that a British architectural firm has been chosen to design the much-anticipated Maasai Mara Visitors Centre serves as a stark reminder of this phenomenon. It raises critical questions about cultural ownership, the role of local expertise, and the broader implications for Kenya’s educational and professional landscape. ▎A Cultural Irony The Maasai Mara is not merely a geographical location; it is a cultural epicenter, steeped in the traditions, stories, and identities of the Maasai people. To entrust its representation to a foreign entity seems not only ironic but also emblematic of a deeper malaise—one that suggests a disconcerting surrender of cultural agency. This choice underscores an unsettling narrative: that the expertise required to design a space meant to celebrate and educate visitors about a quintessentially Kenyan heritage lies outside its borders. The irony is palpable. Here we have a nation rich in architectural talent and civil engineering prowess, yet the decision-makers have opted for a British pair. This decision raises eyebrows and questions about the values that underpin such choices. Are we, as a nation, inadvertently signaling that our own architects and engineers lack the requisite skills to encapsulate our cultural essence? Or are we simply perpetuating a colonial mindset that elevates foreign expertise while relegating local knowledge to the periphery? ▎The Education Dilemma This situation also casts a harsh light on the educational framework within which Kenyan professionals operate. The legacy of colonial education systems still lingers in many African countries, including Kenya. Despite significant strides made in recent years, there remains an underlying perception that Western methodologies and standards are superior. This belief can stifle local innovation and creativity, leaving budding architects and engineers feeling undervalued and overlooked. The decision to exclude local talent from such a pivotal project reflects a broader systemic issue—a failure to cultivate and recognize homegrown expertise. It is crucial to examine how educational institutions have been shaped by post-colonial narratives that often prioritize Western paradigms over indigenous knowledge systems. The result is an educational landscape where students are trained to meet external standards rather than to innovate from within their own cultural contexts. ▎A Call for Decolonization Decolonization is not merely an abstract concept; it is a call to action for African nations to reclaim their narratives, their spaces, and their identities. The design of the Maasai Mara Visitors Centre should be an opportunity for Kenyan architects to weave local stories into the very fabric of the structure. It should serve as a testament to the richness of Maasai culture.

Article by Ijeoma Ndukwe -BBC news: The article is titled "What African Architecture Can Teach The World". While the above mentioned article is not about food, nutrition and leading a healthy lifestyle, it is consistant with what I believe in and that is we must use whatever is in our environment to contribute towards our overall well-being and that of the environment because as you know we are closely connected to our environment. The article is about the work of various African Architects whose work were featured in a recent exhibition in the UAE: Basically the architects used what is in the environment to create eco friendly buildings and to renovate buildings which were unfinished or abandoned. They also included traditional style mud method (rammed earth). Basically we have been brainwashed to believe that only European style building methods (bricks and mortar)are the best and that anything African is no good, not modern and basically a waste of time. The following participants at the exhibition demonstrated that our environment must dictate the materials we use etc. -Tosin Oshinowo -Miriam Hillawi Abraham -Hive Earth Studio -Dominique Petit-Frere -Emil Grip -Pap Omotayo -Eve Nnaji All praise to their contributions and I sincerely hope that ALL architects (present & future) are inspired by the above mentioned Africans who are demonstrating that: we must use whatever is in our environment to design and build our buildings and to be proud of our architecture. Please read the article on the net to get a full understanding of what I am trying to say.

Have you heard about this interesting event in October? More details below!