Cambridge's new eco-friendly mosque opened for prayer this week
Costing around £23 million, the mosque includes features that will minimize carbon emissions - which the Cambridge Mosque Trust hoped to emphasize the role of faith in promoting "responsible management of the earth's resources".
As well as other eco-friendly strategies and being well insulated, the mosque is heated and cooled using locally generated energy.
Rainwater will be harvested and used to flush the toilets and irrigate the grounds.
Pictures of the mosque show its stunning wooden design.
The project aims to enhance the welfare of the city's estimated 6,000 Muslim population, including many visiting students - as well as the wider community.
The Cambridge Mosque trust said it would "not follow or expect adherence to any particular school of Islam and will welcome worshippers from every part of the Muslim family, of both genders."
Alamin Ahmed, co-founder of the Cambridge Muslim Hub, who attended prayer at the new mosque before it was officially opened, said previously: "People who came were very excited to be there. We've been waiting 10 or 11 years for this now.
"It's the first purpose-built mosque in Cambridge, and it will be a legacy for our children and our children's children.
"The new mosque is definitely needed in Cambridge; all the others in the city are overflowing and not designed for prayer. "But this is also a space for the whole community - there are gardens and a cafe, so it is for the public too and not just Muslims. It will bring people together.
Ron AmstutzInstallation view of Edward Hopper’s New York (Whitney Museum of American Art, New York, October 19, 2022- March 5, 2023). From left to right: August in the City, 1945; Intermission, 1963; Chair Car, 1965; Sunlight in a Cafeteria, 1958; New York Office, 1962; Morning Sun, 1952.
To be modern is not a question of choice. It is to find yourself lost in a place made wholly by fellow human beings, wandering through spaces that flow from one into the other around barriers where solidity both confounds and reassures. It is to see other human beings in the same scene and feel a connection to and a distance from them. To be Modernist is to depict that world fully, bringing out the qualities that mark it as this artifice of human life and alienation. Edward Hopper, navigating the streets of New York in the middle of the last century, created some of the most insightful Modernist images, which the Whitney Museum has now collected into an exhibition dedicated to the town where he lived and worked and where the museum is located. Collecting paintings from museums and private holdings around the world, Edward Hopper's New York is open only through March 5. Try not to miss it: You will be astonished by the beauty and the profound sense of being both at home and lost in the quintessentially modern city this showing represents.
What makes Hopper’s Modernism all the more remarkable is that it does not seem radical. It is not abstract and is, on the whole, not made of glass, steel, or concrete. It does not soar up or cantilever out. It is not built around machines and does not involve expanses of office space or vistas down highways. It appears in fragments of an environment still familiar, surrounding and hemming us in. In Hopper’s view, there are almost no cars or trains, no skyscrapers, and no new materials. Instead, there is the way in which houses, diners, and bits and pieces of tunnels and bridges, as well as rooftops and movie theaters, are empty and barren in such a profound way that the few people who find themselves marooned within their uncertain boundaries all stare out into the void, framed by grids, usually with their back turned to you. They are alone.
The exhibition starts with what, to my mind, is the most disturbing view of all, much more wistful and stranger than the famous images of Nighthawks (the empty diner at night) you encounter later in the show, or the often clumsily drawn female figures staring out windows in other spaces. It is a view of the railroad line down Park Avenue where it moves underground or, rather, where the street grid and the apartment blocks on that plane swallow its lines. There is no soaring or plunging, no sense of speeding locomotives, and disjunction. There is no motion here, only the empty train lines disappearing into a tunnel where darkness draws you to the very edge of the canvas, half-dreading what you will find there. A blank wall of uncertain material turns into a bridge over that hole, but there are no railings, fences, lampposts, or electric wires to mark the parts of this overpass. There are certainly no buses or cars. Behind that wall, its top edge just fuzzy enough to hint at solidity and a certain uncertainty at the same time, stand blocks of housing and warehouses. They are recognizable, but not detailed in their depiction. The angles eliminate the cross streets that must run between them. There is only a solid and void, the one bit of escape being a patch of sky touched by clouds appearing over the top of the buildings.
It is what is missing–movement, machines, people, and, above all, a clear point or meaning to the image—that governs this and most of the other paintings and drawings in the exhibition. Hopper does not offer us a view of life. He gives us instead the boxes and voids in which city life is meant to take place. The elements that makeup New York are shown with a certain amount of love and care but in quirky ways. The painter is fascinated, as the exhibition texts point out, by juxtapositions and geometries, rather than by classical compositions. He shows us fragments, rather than full scenes. In the movie theater, we do not see the film or the audience. Whole blocks become swaths of color punctuated by a grid of windows, until one cornice is depicted in detail, hovering over both the mass below it and a solitary woman looking out from her apartment.
For all that emptiness and abstraction, Hopper’s world is fluid. As he does not bother to show glass, unless it is a dark pane that is part of a rhythm marching across a façade, what is inside and what is outside are the same. That also means there is no privacy: His is a profoundly public space, whether the people inside it like it or not. There is also no passage of time, as we have only light or dark. This New York has no morning or evening, no fall colors or winter blanket-softening contours. That means there is also no progress at a larger scale. What was new when Hopper painted it, from the Formica countertops in the cafeterias to the bridges tying together a rapidly expanding New York, comes across as being the same stuff as the brick tenements with their metal-covered cornices.
All this makes Hopper seem conservative, and certainly, he appears to have been in many of his attitudes. The exhibition includes interviews and documents that show his resistance to the new in everything from new and abstract modes of representation to the changes to the Washington Square he overlooked from his home. The images at first seem to have an air of nostalgia about them, which was what many of my fellow exhibition visitors picked up on. They spent their time identifying sites in the paintings and bemoaning how they had changed. I had the same reaction at times, searching for places I had lived or worked, but the more I spent time with these paintings, the more it was clear that I was not actually looking at New York, or at least not the New York that existed at one time and may linger on in our memory. Rather, it is—as the title of the exhibition says (and other critics have noted)—Edward Hopper’s New York, a construct wholly his own.
That New York is built up out of geometric solids that undergird blocks and compositions, the painter manipulated to create his closed views (as a trove of drawings the Whitney acquired recently make clear) and focused not on what might be the most important space or activity, but on quirks and fragments: a wall, a collection of chimneys and vent stacks, or a person who is not a hero of the scene, but an observer like us, lost in its urban compaction.
There is a lesson we can take away from this work. If you feel that any creative work done in our modern age must, first and foremost, represent, but also offer a reworking, reimagination, and critique of what we have made into our contemporary reality, as I believe it must, one of the most effective ways to do so is to mirror and map what is there—what we see every day, and what we know. How you as either a viewer or a maker engage in that reflexive act—how you edit, focus, frame, and confound—is the art or architecture of Modernism.
Architecture in Norway is a mix of many styles both modern and traditional. There is certainly plenty to absorb in the country both as a tourist and for those who appreciate varied architecture.
When people picture Norway they probably think of quaint, wooden houses, medieval churches or perhaps the colourful downtown streets of Oslo. But in terms of architecture, the country is much more than that.
For example, in recent decades, newer and more exciting structures have started to take centre stage. Some of these new modern masterpieces have been designed with the natural environment firmly in mind. Other times, they must work alongside the old, traditional buildings still standing.
Both have meant that Norwegian architecture has become a global example of natural design, and how the new and old can work alongside each other.
Bryggen, Bergen
The wooden trading houses of Bryggen are a shining example of traditional Norwegian architecture. So much so, the area is one of Norway's UNESCO World Heritage sites.
In the Middle Ages, Bergen was the main port of export for dried fish and fish oil from northern Norway. German merchants began to join the trade, offering grains in return. A Hanseatic trading centre was established to manage this trade.
The area was ravaged by fire several times, so the buildings today date from the early 18th century. They were, however, built in keeping with the traditions and the original compact, urban structure including the narrow wooden passages. Recent renovation work continues to use traditional methods and tools wherever possible.The Hanseatic museum (currently under renovation) lets you step inside one of these houses to get a feel for the dark, cramped conditions. Oslo Opera House & Barcode Let’s start with one of the most iconic and recognisable new buildings in Norway, Oslo Opera House. It was designed by the world-renowned Snøhetta and opened in 2008.
Oslo Opera House But even though it's only been around for little over a decade, it has already become a much-loved landmark in the country’s capital. The Opera House has also won various awards including the World Architecture Festival Cultural Award in 2008 and the Mies van der Rohe award in 2009.
The building's contemporary style was designed with its location on the waterfront in mind. Its exterior is angular and sloping while the bright white granite and Italian marble help to create the look of an iceberg.
The Opera House was one of the early stages in the development of Oslo's waterfront. The striking modern buildings of Barcode now provide the backdrop to the Opera House. Built on former industrial land, Barcode is a row of slender, high-rise office buildings creating a new business district for the capital.
Norwegian stave churches
Stave churches are wooden structures that originated in Northern Europe in the medieval period. Today, most remaining stave churches are located in Norway and are typically found in rural locations.
I’m including these striking buildings in general because they remain such impressive feats of architecture and design. For more specific examples, take a look at these articles on the churches at Borgund and Fantoft.
The word “stave” means upright plank. In the construction of the churches, timbers are used to support the building's elaborate outer layers.
They are made almost entirely of wood. Because of this, most have highly detailed carvings etched into walls and feature points on the outside.
The New Porsgrunn Church
There are occasions when new buildings aren’t quite so well received or they divide opinion. This is especially true of Norwegian churches. The new Porsgrunn East church is one such project that continues to raise eyebrows.In 2011, the former church burnt to the ground in a fire. After some years of planning and deliberation, its replacement, the New Porsgrunn East Church was ratified before opening its doors in 2019.
But there was some controversy over the new structure and it was in no doubt charged by the choice of a modern design over that of a more traditional one. The new church definitely offers something quite different from its predecessor, and it can be said to be an acquired taste.
Victoria Terrasse, Oslo
Victoria Terrasse is a collection of buildings located in the central part of Oslo not far from the Royal Palace. The Terrasse has a bright, white façade which is contrasted against a grey roof that depending on what time of the day you view it, can offer something different each time.
The luxury apartment complex was designed by Henrik Thrap-Meyer with the help of Wilhelm von Hanno, Paul Due and Richard Steckmes. It was built between 1884 and 1890.
One famous former resident was the famous playwright Henrik Ibsen. The Norwegian lived in a part of the building for four years between 1891 and 1895.
But it is another former occupant that gives the building a dark history. When the Germans occupied Norway during the Second World War, Victoria Terrasse was used by the Gestapo to keep jailed Norwegian citizens and people with a political interest in the country.
Many of these prisoners were interrogated and tortured in the complex and some even leapt to their death from the upper floors in order to avoid the abuse.
Powerhouse Brattørkaia in Trondheim
In August 2019, the Powerhouse Brattørkaia was officially opened in Trondhiem. The building's dark exterior is clean, fresh with a certain sleekness to it.
Inside, it is a monster of a building, with some 18,200-square-metres of floorspace over eight floors. Its prominent position on the waterfront, not far from the city’s railway station, ensure it is easily accessible.
Powerhouse Brattørkaia. Photo: synlig.no Powerhouse Brattørkaia is the biggest energy-positive building in Norway and is central to the ongoing smart city project in Trondheim. It was formed through a collaboration involving several partners, all of whom had previously worked together on similar projects.
Nidaros Cathedral
Another famous piece of architecture located in Trondheim is Nidaros Cathedral, or Nidarosdomen in Norwegian. It was founded around the year 1070 and was built on the burial site of Olav Haraldsson.
The construction of the cathedral, like many churches from that period, took some time. It wasn’t officially completed until 1300 while more recent renovations were completed in 2001.
The Nidaros Cathedral is one of Norway’s finest examples of Romanesque and Gothic architecture. The soapstone that it's made from is perfect for carving ornate details both inside and outside. Inside, the church has a capacity for around 1,850 people.
Nidaros Cathedral in Trondheim Equinor Fornebu
The Equinor Fornebu is an office building in Oslo but not just your average office building.
It's the home of the state-owned energy company Equinor whose Oslo offices are based there. The striking building is made up of five blocks, each block has three floors and is 140-metre-long and 23 metres wide.
The building was opened in 2012 and houses 2,500 employees across its 11,700 metres-squared floor space. It’s a daring design and one that challenges the eye offering something quite different with the changing light of each season.
It was designed by the architect A-Lab and is said to represent Statoil as an innovative and ground-breaking petroleum company. It was built on the site of Oslo’s former main airport and is the figure head of Equinor's urban regeneration project.
Equnior's eye-catching HQ in Oslo. Photo: Wojtek Gurak (CC 2.0)Kilden Performing Arts Centre
Kilden Performing Arts Centre (Teater og Konsethus) opened in Kristiansand in 2012. Since then, it has become one the city’s most impressive pieces of new architecture.
The building brings many people together and is the focal point of cultural arts in the community. Its uniqueness sets it apart from other projects not only in Norway but also on the international stage.The performing arts centre has a wooden exterior, one that has been designed to look like the waves out at sea, tying it perfectly to its harbour-side location. Inside, there are various shapes and hall sizes across a floorspace that stretches over 16,500 square-metres in total.
The building was designed by ALA architects Ltd (Helsinki, Finland) in cooperation with local company SMS architects AS.
Other examples of new architecture
Aside from buildings, there are also an impressive array of other structures in Norway. Some of them are the country's new roadside projects that have seen investment recent years with many of them becoming popular tourist attractions. One of those attractions is the stone circle formation Solspeilet near Jørpeland in Rogaland.
It is known as the Norwegian Stonehenge and is a piece of artwork by Norwegian artist Stian H Skjæveland. It's a structure that's made up of one tall, smooth and modern column surrounded by a circle of 12 individual uneven stones. Solspeilet is located on a tiny island just off the Ryfylke highway and is well worth a visit.
Another structure on the Ryfylke highway is the new roadside viewing place at Høllesli. The platform offers an alternative to Preikestolen (Pulpit Rock) and also offers great views out over Lyesfjord below.
Finally, the eye-catching new Oslo library opened just recently and is another example of a modern building that splits opinion.
Wednesday, December 7, 2022
What we have been reading at YSA...
Abstract Architecture Photography by Pete Sieger
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By: DesignFather
Introducing the absolutely fantastic work of abstract architectural photographer, Pete Sieger.
Pete Sieger studied architecture in the late 1960’s, and received his Bachelor of Architecture from the University of Minnesota in 1973. He has worked as a practicing architect for over thirty years. And Pete Sieger’s interest in architectural photography dates to 1972 when he acquired his first large format camera, a 4”x5” Kodak Masterview with a 90mm Schneider Angulon lens. As an in-house photographer, Pete documented over fifty completed projects for Meyer, Scherer & Rockcastle, Ltd. (MS&R). He is now providing architectural photography services for a growing list of clients in Minnesota and beyond.
“Pete Sieger is an architect with a photographer’s eye and a photographer with an architect’s eye. I’m instantly jealous. He has a perception of architectural form which goes beyond the norm. His images are both informative and pictorial. They exude quality”, says of Pete Sieger fellow Architectural Photographer, Andy Marshall.
His work has indeed been published in a variety of books and architectural magazines and has also been included in exhibits sponsored by the University of Minnesota, College of Design. He works utilizing both the 4”x5” format (film) and direct digital capture with perspective correction lenses.
And do note this: back in 2010 Pete Sieger co-founded IDE[A] – Imaging the Designed Environment [Architecture] – a Minneapolis based architectural photography collaborative consisting of seven Minneapolis photographers and film-makers.
The area was ravaged by fire several times, so the buildings today date from the early 18th century. They were, however, built in keeping with the traditions and the original compact, urban structure including the narrow wooden passages. Recent renovation work continues to use traditional methods and tools wherever possible.The Hanseatic museum (currently under renovation) lets you step inside one of these houses to get a feel for the dark, cramped conditions. 
