in exhibition Do it Arabic – Sharjah Art Foundation 2016
in exhibition Do it Arabic – Sharjah Art Foundation 2016
H O P E 🙂
a first adobe dome shelter model is build in Samos at the Greek-Turkish seaside border based on the instructions and drawings on this blog.
Big thanks to all!!!
curator Katerina Gregos
at Art Space Pythagorean – Schwarz Foundation – Samos
the adobe house dome building instructions, wich were published on this blog in the earlier article “how to build a Syrian adobe dome” and in other articles on the Syrian adobe dome, are free to use, the drawings can be printed. the guidelines of creative commons” rules are valid. So visit the articles and try how to build .
Hanging Gardens for Skylines, drawings 1-4, 42×59 cm 2016 April, Copyright Róza El-Hassan
Hanging Gardens for Skylines, drawing 59×42 cm, 2016 April, Copyright Róza El-Hassan
This was came into being, since the skylines of the Arab Gukf were so inspiring and so were the big constructions and utopian buildings.
My futuristic idea is to connect the skyscrapers also on the high level around the 30th or the 50th floor and to add hanging gardens , bicycle roads, streets to walk to to the upper level. This way we have a skyline, which reminds me of the Hanging Gardens of Babylon., which King Nebuchadnezzar II build for his wife Queen Amytis , who missed the green hills so much, we know these seven wonders of the ancient word also as Semiramis Hanging Gardens.
Hanging Gardens of Babylon, 19th century painting by anonymous artist.
Hanging Gardens, Singapore.
The question arises, could we build such sustainable gardens floating in the air between the skyscrapers? And how could we water them? Today we know several technologies to get water from the air. So we do not need to build pipelines. These technologies I will introduce later.
There has been already at the beginning of the 20th century several ideas to connect skyscrapers with high-road, but seldom realized. One of these utopian images we can see on Fritz Lang’s film scenery Metropolis.
Fritz Lang, Metropolis film animation beginning of 20th century
Why Highroads instead of elevators only ,2016 April
When we want to walk from the 50the floor of a skyscraper to visit the neighbor’s office or home, which is in the other skyscraper, on the 45th floor, we take the elevator, go 50 floors down and the we walk or drive to the other building and we go again 45 floors up with an elevator.
Burj Al Khalifa Metro Station Dubai / Pedestrian highway
One example for a device, which extracts water from the air: Dew Bank by Kitea Pak — orogially designed for desert situation, but also useful among skyscrapers.
Roza El-Hassan 2016 May All right reserved
How to build an adobe house – basic instruction.
please scroll down for German abstract/translation
The first step to build any adobe house is the production of the bricks.
It is basically a mixture of stray and mud(earth) casted into a simple form and dried in the sun.
In hot weather regions it needs only three or four days to dry . In Hungary it needs a week or two depending on the temperature and sunshine. It can be produces only in the summer! Several tutorial videos exist on the internet. Still you have to try yourself, try the local earth, straw and weather. If you mix also a bit of cement into the earth it dries faster and harder but later while you r work, it is much more difficult to cut the bricks, if you need smaller pieces for the top of the dome or for edges. in the house. Fully organic bricks made of straw and earth can be cut easily with a handsaw and formed as needed. It is a universal element for architecture and art.
Arabic video made last summer:
The dome’s is placed on a stone socket, the walls are very big on the bottom, and thin on the top. This provides the statics.
The stone part can consist of one layer only or of several layers, the stone basis is not necessary, if the dome is build on concrete or pavement.
This basis can carry as well a house, wich has the form of a cube and a house, wich is a dome.
The doors and windows can be made also of wood, metal or any other material, which is available, not just stone. If you do not have any wood or metal for the doors, I recommend to use textile.
Usually the door is not very big, not more then 150 cm high. If the house is 250 or 270 cm high, the door can be between 120 and 150 cm high. If bigger, the door is to dominant.
The window is places very low, only. 40 or 50 cm from the floor. the size of the window is about 45 cmx 45 cm . This is better to get cool air into the house from lower levels.
The Beehive is not like an arch, but like a wall with special statics and character.
See drawing left side.
This drawing shows how to calculate the basic proportions
Der Dome ist zumeist auf einen steinernere Sockel gebaut, der 15 cm bis zu ein meter hoch sein sein. Die Höhe ist variabel.
Auf dem Steinsockel steht der Erbau.
Es ist unten ganz dick, mindestens 50 cm dick und oben ganz dünn.
Somit sind die Seitenstützpfeiler, die z.B. bei einem gotischen Dom am Gebäude an der Seite des Hauptschiffen als Rippen erscheinen, hier in die sich nach oben verjüngend Mauerbreiten mit einkalkuliert. Die unten dicken Mauern fangen den schrägen vertikalen Druck der Kuppel auf.
Da der Sockel quadratisch ist, und die Kuppel rund, entsteht eine kleine Konkave in den vier Ecken.
Die Zeichnungen und Photos zeigen den Innenraum der Kuppel , der rote kreis den Übergang vom Quadrat zur Kuppel, Kugelform.
the red circle show the very ancient problem of builders to change from a cube to a sphere:-)
and this photo shows how beautiful it is inside.
But to achieve this natural architectural beauty it is better to ask a Syrian craftsmen or woman.
upper photo: House: Breeze 9 , Antwerpen ,build by Róza El-Hassan, Hussine Ahmed Hamed, Dr. Nawaf El-Hassan, in May 2015 organization, curatorial work: Anders Kreuger and the MUHKA team. The adobe bricks were produced in Hungary at Tisza riverside.
to be continued….
title of the show
Architecture of Compassion
curator: Barnabás Bencsik
artist: Róza El-Hassan
more photos will follow soon
on display until the 29th of April on display in Budapest at INDA Galéria
H-1061 Budapest, Király utca 34. II/4.
telefon: +36 1 4131960
mobil: +36 70 4203124
photo Miklós Sulyok
Skyscrapers on my desk with pommegranate on the top
Portrait Charlotte Bühler 2015
mushroom houses in the Gulf
Architecture of Compassion photo Róza El-Hassan
adobe house photo R.E.H.
Backlight – Transition
Backlight – Arrival 2016
panel with stars and holes
Here follows some important links about the modernisation of adobe architecture in 20th century. The list is not alphabetic, but ordered by the year of birth of the architects and archivists . They are all very important. This short list includes those charismatic architects who were born and worked in the 20th century, therefore those who followed after 2010 are missing.
I did not add too much explanations and text since I would like to show the beauty and the significant style of great architects like Hassan Fathy and Nader Khalili.
Hassan Fathy – حسن فتحي 1900–1989
Fathy is called the pioneer of sustainable architecture – he designed earth-brick houses in Egypt for poor people – he was a great and elegant modernist thinker and architect
Hassan Fathy – drawing of natural air- condition methods and wind-fluctuation in traditional Arab windcatchers
Nader Khalili – نادر خلیلی 1936-2008
Born in Teheran, departed in Los Angeles, California
Architect, poet and translator of Rumi literature.
Here are some of his great buildings – light, spirituality and important scientific inventions
Khalili’s famous super-adobe idea for astronauts, who could not carry bricks to the moon. The idea was to take empty sandbags up to the moon, fill them with moon-dust and build a dome from sandbags.
Mexico and New Mexiko
renovation works – an new reconstructed buildings – often be anonymous architects. I did not find their names on the internet, only the locations. San Geronimo Church at Taos Pueblo by Karol M. “This is the church at Taos Pueblo, the northernmost of the New Mexico pueblo’s and the most original and beautiful….the churh is the NEWEST building in the pueblo….having been built in 1850 and is a National Historic Landmark…it replaced the original pueblo church which was destroyed by the US army in 1847 after a revolt by the natives…” Source: http://www.flickr.com/photos/byrdiegyrl/35098783/
earlier church, archives Taos Pueblo
Taos Pueble, Mexiko
Tibor Sabján 1952 – 2009 born in Szekszárd, Hungary.
He is one of the important researchers of the Hungarian anthropologist movement of the 20th century. He was architect, photographer and ethnography capturing rural tradition and its details. Following his studies of architecture he spend decades with taking black and white photos of rural architecture and design in Central Europe and Hungary. one of his most important books: Hagyományos falak (-Traditional Walls) authors :Sabján Tíbor – Buzás Miklós ISBN: 9638630353 Oldalak száma: 140 Nyelv: magyar Formátum: 166 x 188 mm Kiadás éve: 2003 Kiadó: TERC Kft. , László Kúnkovács’s architecture photos of preripherical buildings and objects belongs also to his school http://tyukudvar.blog.hu/2012/04/20/elfeledett_kincsek_tyukolak_a_nepi_epiteszetben http://2014.biennale.hu/osepitmenyek/
to be continued with architects from Asia, Europe and Africa.
Hussein Hamen Ahmed , craftsman, bricklayer interior designer for plaster-reliefs and home-decoration, from Antwerpen and Aleppo
Dr. Nawaf El-Hassan, expert for cultural heritage, village architecture in Northern Syria and dome-building, Latakia – Budapest
Anders Kreuger – curator Stockholm-Vilnius _Antwerpen
and many others
photos Christine Clinckx and Róza El-Hassan copyright with the authors
Adobe-dome house – new experimental design with heat censors and leds please zoom in for details new plan: heat censors and leds showing the temperature idea by Andrea Stojanovits and inner ornamentics by Éva Köves Róza El-Hassan drawing from 2012 Thermo plan for adobe dome house – The house was in the hot summer inside 25 degrees, while it was outdoors 50 degrees celsius – it is a natural air-condition machine – The warm air is collected in the top of the building. copyright with the author copyright with Breeze projects.
These are just some link to 3D plotters, which work with mud and clay. It could be interesting while rebuilding Syria, although it is built in China and in Haiti or Peru in the earth-quake regions. So why not in Syria?
One of the reasons, why the research of mud- technologies and adobe is important is: cement, the classical portland cement, as used in concrete needs to be burned at 1400 °C during the production to receive the Portland cement granulates, its basic material. 1400 °C , this means using a lot of fossile energy. 3D printers work not only with clay, but also with recycled material. The biggest 3D plotted houses are build in China.
in the labor — small scale adobe domes build by robots – image source: http://i.ytimg.com/vi/J8lBdgzWHO0/maxresdefault.jpg
some links and recommendation :
on Aljazeera you find also in arabic
development of 3D printed objects and houses in California in cooperation with Chinese researchers::
CENTER FOR RAPID AUTOMATED FABRICATION TECHNOLOGIES
An interesting article on 3D printer and mud presented in Italy last week by the company WASP an earlier examples of 3 d printed houses made of waste material in China
NEW: Big dome 3d printed
Have a good time while reading and watching !
Further I would like to add one more question to the NSK questionnaire:
This is: whom shall we ask for amnesty? Whom should we address this question to?
The answer seems to be obvious: the President of the State, the Government.
Still it’s not simple as that:
Let’s take Lebanon. About 4 million Lebanese people live there (data from Wikipedia), about five times more Lebanese people live abroad (8-14 million) – the biggest community is in Brazil, 7 millions, but also there are many living in Canada, or Europe.
Still Lebanon actually has 6 million inhabitants and not 4, because one from every five Lebanese inhabitant is from Syria, others are from Palestine and other countries.
The protection – mental and legal – for our lives is provided mainly by our family and friends ( and seldom by the well-fares state, as in Sweden).
So the families from regions like the Middle East are torn. Some of them live in democratic societies, others not.
Those, who live as migrants outside the war regions – in Europe, Brazil, Arabian-Persian Gulf – are not safe at all, as possible victims of human rights violation, being migrants. But this is not the only problem: after receiving an EU citizenship or permanent residency, their political voice, their financial situation and the strength of their network is also responsible for the fate of the relatives, who live in war- regions without any legal protection. Image the situation: you live in Europe, but your relative is in a prison, where hundreds, thousands of people are killed and many tortured? Or in a village, which might be targeted any time. Do you still feel protected by your EU passport? Or are you part of those communities, who are shelled at home? How much money do you have to pay to international criminals to protect human lives at home?
So my question is, whom shall we ask for amnesty?
Which government? The President of Europe or the Homeland ?
Shall we ask the local police of our district for amnesty: this means, shall we ask them not to arrest us if accusations are faked by criminals? Or shall we ask the court? Or the Ministry of Inner Affairs? Or of Foreign Affairs?
Or shall we ask the media, news, radio and net to ask for it for us?
By the way, what about the newspapers? And the free press???
(…) Can we ask the press to support amnesty for human rights advocates and simple people?
In this case, who will protect the press people, the journalists from being killed in one of the war regions? Or from losing their sponsors at home?
Or shall we ask the social platforms?
If it comes to a trial, most of the evidence for or against an accusation towards a subject is delivered on so called digital social media, internet.
It is not printed on paper, or stored as analogue film. It is stored on the servers. The system admin has access to the data. He can change it. Servers are not national, but global or private. Shall we ask the system admins for our amnesty?
They often have the key-role. But where are they? In Ireland?
Or shall we ask our friends and family, our personal network to support us on an upper level () by informal support? Step by step?
What about those, whose network is not influential enough and never reaches the President, the Court or the Police?
The list of questions is endless.
The legal system is separated/divided into legislative, juristic and executive power to protect the individual and not to centralize power.
The executive force is local: the police man, with the lowest salary in the chain, who has to arrest you. The doctor, who has to treat you if declared mentally ill. Who decides locally, if you will be treated after war trauma’s mental disease with patience , analysis and natural therapies like sports, yoga, music and herbs or if you will just be tied down with plastic ropes to a bed, detained in a dirty clinic behind bars and injected with unknown brain serums you would not want?
Executive power may also be the post-man, who brings you an important letter or document, and who decides, if you should receive the necessary documents to stay legal – even more complicated is your phone and net communications. Is it executive power, who allows you to talk to anybody local (is it the big t-com building around the corner)? or globally, sitting in Berlin or California?
The executive power can also be your boss, who pays you, or even a family member, who is forced to accuse you with financial tools or even by dislocated military authorities.
All these are rather local.
If you are politically accused, you can escape the immediate executive punishment: poverty by prohibition of salary payment, prison, shelling, death or forced to change country : by becoming an asylum – seeker. But your escape might be limited in time, because the legal and legislative powers are not really local for a country, but often global.
Much more complex are the juristic examples: these are basically local, in their natural state. The court, the judges are appointed by your nation/state not as the laws and latest rules all kept in the digital cloud.
((Traditional exceptions from nation state courts: a legislative power, which is not local is the UN (a supra-nation court, which came into being as a protection against crimes against humanity after the WW2), and the court in Hague. One more exception: a juristic instance outside the nation-state in colonized states. But UN, and the colonial system have been well depicted in political studies.))
The most complex are the legislative instances, those who make the rules. The legislatives. I want to show by my question, that they often are NOT local, not in the nation- states.
The voters, who should delegate the politicians are often lost, migrated, exile and stateless without a possibility to vote. The elite sits often stateless on a private plane.
The state without nation might become a spot where people only live – independent from their national identity and their legal status ( citizenship). This would be the end of all justice.
We need to protect the unity of citizenship and the nation- state ( by nation state I mean of course no ethnically homogenous state). Some politicians suggest and build fences for this.
Still, there is no democracy or any protection of human rights in Europe and America, if there are no human rights and stable legal systems outside Europe, if there is no protection for the citizens and if there is no peace outside Europe. I wanted to show this by my question: Whom shall I ask for amnesty? This is a possible question to NSK, IRWIN and Slavoj Zizek and Zdenka Badovinacz, whose writings I respect and like very much.
I would like to ask the reader to support the amnesty in the name of the many Syrians and the people from war regions, and from countries in Middle East, also in Europe and in my country Hungary – the asylum seekers from all over the world, having no exact person, or institute, whom we can address.
And I ask the delegates: Do you need amnesty?
Róza El-Hassan firstname.lastname@example.org
Tangle Drawing, around 1997
The 10 people that you choose, together with your own answers, will form the inspiration for the installation of the second part of the Pavilion by Ahmet Öğüt. All your chosen colleagues will be offered free NSK citizenship and therefore automatic right of entry to the Slavoj Žižek lecture that will be held on Thursday, 11th of May 2017 at the IUAV University of Venice.
We do hope you will be willing to assume the role of an Agent to our Pavilion and that you can commit to carrying out the tasks as listed.
Please let us know as soon as possible, the latest by 10th December 2016 whether you are able to join us and please do not hesitate to ask any questions or seek any clarifications that you may need in order to make a positive decision.
For further information please contact Mara Ambrožič, project director for the NSK State-in-Time Venice Pavilion through email@example.com.
Sending, coordination and reception of emails will be followed by the Organisational Unit using the following address firstname.lastname@example.org.
With our best wishes, Zdenka Badovinac and Charles Esche Curators, NSK State-in-Time Pavilion 2017
Olia Ialina, Agatha Appears 1997 http://www.c3.hu/collection/agatha/
In September I explored a new field of ecological building and possible shelter constructions. This research is not finished yet, but I decided to publish some photos and drawings on the blog. comments are welcome.
This field is a modular building. It does not use bricks in burned form or adobe bricks, bur rather the basic model of one frame – usually made of timber, wood. This unit is repeated and interconnected to other units with slight changes.
While studying the structure it reminds me of a the logic and a language structures , where the same elements are repeated, interconnected, which slight modification soccer.
The empty modular frame can be filled up with wicker construction, adobe bricks, stones, marbles, straw bales, burned brick, or even with recycled paper
German Fachwerk houses and Yemeni desert skyscrapers were build with the modular technique of wooden frames.
Complex Fachwerk construction – advantages:
the builder needs little wood compared to a massive wooden wall.
The gaps in the frames can be filled with any material, which is available or cheap.
Precise constructions can be achieved, once the wooden framework is done, you can not make too many mistakes.
The technique can be used for small shelters – and for tall buildings .
Timber was very valuable. If a family moved hundred years ago in Germany or Flanders they took their house as flat-pack with them. They left the earth and straw of the walls behind and put the, balks of the old house precisely numbered on their covers wagon to build a new house in the new settlement.
Some ways to use little wood and to combine architectural motives from remote cultures in harmony
German Fachwerk filled with earth and straw – inner construction
German Fachwerk-Play-straw, photo found on the net
also the ancient adobe skyscrapers in Shibam, Yemen are build on the basis of wood and earth constructions, even if the wooden framework is cover.
Also the houses in Netherlands used to paint and cover the Fachwerk timber, the black and white version is design in many rural houses later to make it more attractive and visible for tourists… 🙂
This house might have been in hundred years ago completely white.
This old fisherman’s house I found in Dubai. it is also a basic contraction of wooden framework, here the gaps are filled with wicker. and even with textile. The tower is the ancient cooling system, a natural air-condition machine.
( see my article Wind and Towers Dubai)
Fisherman’s house, Dubai, my photo from April 2015
This is a ceiling from Doha
The modular building system , the timber framework, door and roof is often used as decorative element in damascene inlay boxes – here it does not have any function, it mirrors rather the deep symbolic meaning an the house and the geometric structure.
Wooden Box from Damascus source http://www.christies.com
Maria-Theresa’s , Four models for houses for adobe and earth houses German settlers in Hungary, source: ” Föld- és Szalmaépítészet”, Mednyánszky Péter, Novák Ágnes, Terc book, ISBN 9639535435, Budapest 2006
((With the wooden frame- technique you can achieve even earth-quacks protected buildings: these pagodas in Japan do not collapse, because of the wooden shinabaras. The shinbashira acts as a massive tuned mass damper, helping to mitigate the earthquake’s vibrations. It also prevents the floors from swaying to the point of collapse and absorbs some of the momentum of the floors as they strike against it.
But this is not the main issue of this entry. It deserves a new entry.
Hagyományos falak (-Traditional Walls) authors :Sabján Tíbor – Buzás Miklós ISBN: 9638630353
In September 2016 used the module and frame system in new ways – and filled it with wicker and clay in the show The Measurement of our traveling Feet ( Maastricht September) here follows some pictures.
building a piece of timber construction
timer frame construction
willow and timber construction
willow branches in the construction
playing with forms while covering the wooden structure with clay-straw mixture
The first layer of earth and straw is rough
first rough layer
final fine layer and wood is also covered is clay
The idea was to create a structure, wich stands in backlight. One ned is a real massive wall and the other end completely transparent. I wanted to show the various possibilities of the material : a heavy real wall and light transparent structures.
The construction- Art-work: Times of Big Change in Marres House of culture. It is not about technical inventions, – but rather about mixing ” languages, sentences of architecture” in a harmonious way and about many other stories, which I can not describe here. You can visit the exhibition until end of November 2016.
For opening hours and address please visit the site of the exhibition space:
Róza El-Hassan 2016 ( except of those photos, where I added the sources)
With many thanks to those in Maastricht, who provided wood, clay and willow branches materials to build.