#mosque-conversions

#mosque-conversions

The aim of this case is not to seek the truth or to ensure justice, but to escape the anxiety of electoral defeat. The behind-closed-doors trial was the product of a corrupt mindset that is mortally afraid of free and fair elections and has taken refuge behind the judiciary to eliminate its political rival.

We have deployed several types of cooling systems here, each one used depending on climatic conditions. The system, created millennia ago but updated for the 21st century, works by cooling water underground in the naturally low temperatures at night. To cool water more quickly, some is also sent to the roof via solar-powered pumps and sprayed out of nozzles in a thin layer through a method known as a falling film, before draining back down underground.

Two hundred and fifty-six Quran memorisers—Palestinians who have committed the entire holy book to memory—sat in the place while companions beside them listened attentively, following each word carefully to ensure the recitation remained flawless. The gathering, titled Safwat Al-Huffaz—The Elite of Quran Memorisers, has become a special collective way of observing Ramadan in Gaza.

The contemporary technology museum has emerged as a performative participant in the systems it seeks to document. The architecture of these institutions has become increasingly fluid and bold, often mirroring the velocity and complexity of the systems it houses. They operate as mediators between the human, the ecological, and the technological realms, transforming from encyclopedic warehouses into active educational engines.

The most serious confirmed damage to date has been to Tehran's Golestan palace, dating back to the 14th century, and the 17th-century Chehel Sotoon palace in Isfahan. Judging from videos and public statements, neither historic building was hit by a missile directly but the shock wave from nearby blasts and possibly some missile debris, shattered glass and brought down tiles and masonry.

Not a day passes without some overt expression of it in our national life. A crime committed by one Muslim becomes an indictment of all Muslims. A cultural practice is wrenched from context and weaponised to provoke anxiety. A theological concept is distorted to imply threat. And on the streets, and increasingly online, it can turn into violence, intimidation or exclusion directed at anyone who looks Muslim.

Since coming to power in 2002, the Justice and Development Party (AKP) has sought to reshape education around what it describes as 'national identity' and 'spiritual values.' Critics, including opposition parties, secular groups, and teachers' union, say the reforms have expanded the role of religion in public education.

Home Office guidance says mosques should apply for security measures provided for free by the Home Office if they have experienced or feel vulnerable to hate crime, of if there has been hate crime in the area towards other places of worship or their congregants. However, it advises applicants to provide detailed evidence of incidents, such as graffiti, or police reports, saying that applications that do not include strong evidence are unlikely to be successful.

A new law empowering Turkey's central government to seize historic properties from local authorities is raising fears that heritage sites are becoming the latest front in a wider campaign against opposition-led municipalities. Among the sites at stake are cultural venues run by the Istanbul municipality, whose mayor Ekrem İmamoğlu launched an ambitious conservation drive and expanded cultural programming before he was jailed last year after announcing plans to run for president.

Located on the southeastern edge of the University of Indonesia's Faculty of Economics and Business, AlIqtishad redefines the role of a campus Mushola, shifting from a discreet endpoint to a civic and spiritual threshold within the FEB UI Masterplan.

An intact mosaic from Late Antiquity discovered during restoration of a historic municipal building in Istanbul is now a floor again, covered in plexiglass and welcoming visitors to the new Zeytinburnu Mosaic Museum. Visitors of Turkey's newest museum move across elevated glass walkways, suspended right above the original floors themselves. The mosaics are not relocated fragments mounted on walls, but surfaces that remain exactly where they were first laid, preserving their context for all to see.

In Arash Nassiri's new moving-image commission, an insect puppet drags itself across an empty marble floor, cast in eerie blue evening light. The scene is diffused through an enormous frosted-glass cubicle, refracting and distorting the images. That sense of distortion pervades the Tehran-born, Berlin-based Nassiri's first institutional solo exhibition, A Bug's Life, which opened last weekend at London's Chisenhale Gallery-and comprises a film set within a sculptural installation.

Ba-rro: "Our starting point is always the context and what already exists." We are interested in recognizing the value of things simply because they are there, without assuming that everything must be preserved as a matter of principle. The question isn't what can be kept, but what deserves to be kept in each specific project. The decision to preserve, reveal, or remove doesn't stem from universal values or a nostalgic impulse, but from a situated interpretation:

After a short drive through dry hills, a stone-walled patio came into view. White tablecloth covered tables were set among olive trees and exotic shrubbery. A building stood a discreet distance away. The sweet morning air had yet to succumb to the heat of the day, and a slight breeze ruffled the trees. Moments after we were seated, steaming glass cups of black tea were poured, and a brigade of small plates began to arrive.

A conversation with Alicia Walker on the pseudo-Arabic inscriptions (or pseudo-kufic) that appear on a number of tenth- and eleventh-century churches in Greece, most notably at the monastery of Hosios Loukas. What did the Arabic script signify in Orthodox culture at the time if not tension with Islam? Alicia Walker is Professor of History of Art at Bryn Mawr College.

In Manisa, western Turkey, the Liberation Museum by Yalin Architectural Design is a memory space shaped by absence, loss, and collective resilience. Developed for the Greater City Municipality of Manisa, the 3,800-square-meter project narrates the local civil resistance movement that emerged independently of central authority between 1918 and 1923, during and after the First World War. The museum is conceived as an experiential landscape, guiding visitors through a spatial narrative of occupation, destruction, liberation, and rebuilding.

Qingshan Wu "Ay" () is a type of black-glazed ceramic indigenous to the mountainous region of northeastern Fujian, positioned between pottery and porcelain.