My passion for travel, art, and nature provide the inspiration for my photographic portrayal of the cultural and environmental heritage of Italy, Europe, and the Mediterranean.&nbsp; It was this passion and the desire to know new countries and cultures, that led to my extensive travels in Tunisia during the Spring of 2015. As I had studied Classical Studies while attending the university in Rome, I began by exploring the wonderful archaeological remains of Roman towns. &nbsp;I constantly find myself drawn to these remnants of ancient Roman culture, and feel at home among them. I also seized the opportunity to visit many of Tunisia’s beautiful beaches, natural landscapes, and the masterpieces of Islamic art.Whenever I travel, I always try to immerse myself in the culture and to interact with the people so that I may come to understand them more profoundly. &nbsp;I only travel by public transportation, and I try to stay in hotels that don’t cater exclusively to tourists. &nbsp;Travelling in this way, I came to know the human and cultural reality of Tunisia.I chose to visit the country in early spring because it is the season of the year when the charm of ancient ruins marries perfectly with the spectacular beauty and colours of nature re-awakening after winter. The temperature was almost always pleasant, and the low height of the sun often provided perfect lighting for the photographic documentation of monuments.&nbsp;It is my standard practice to document archaeological sites and architectural monuments with different types of images:1) General views that frame the monuments in their geographical, natural and environmental context;2) Traditional front and side views of the sort most requested by architects, archaeologists, and other scholars;&nbsp;3) Detail views of significant architectural and sculptural features, always trying to use a grazing light to highlight the skillful work of ancient artists;4) Photos with people present to convey scale and because I believe that every architecture becomes more “vivid” when it is “left” by people;5) And finally, the images I most enjoy taking, such as those with an interesting, unusual angle, and shots from below that relate the monument to the blue sky above.I carefully chose the archaeological sites I wished to document through extensive research before leaving Italy. &nbsp;This preliminary itinerary was refined and enriched during the course of my journey as my knowledge of the area was deepened, and as a result of conversations with scholars I met on site. I visited all the major Roman archaeological sites in Tunisia, with the sole exception of Mactaris, 140 km Southwest of Tunis. I hope to document that site on a subsequent trip.My photographs are a representation of continual research, exploration, and experimentation with composition, light and the aesthetics of a photographic shot. Light reveals the contours and textures of architectural spaces, and reveals the depth of a landscape. I contend that photography is as important to the documentation of historical subjects as is any descriptive, analytical, or critical writing; and I am dedicated to revealing the timeless beauty of art masterpieces through the &nbsp;sensitivity of my approach.-Arnaldo Vescovo, Spring 2015<div style="text-align: center;"> </div>

Arnaldo Vescovo: Archaeological Tunisia

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digital graphic

IAA706363

This collection containing 73 reproductions of&nbsp;photographs of Iraq from the early twentieth century was published by the Hasso&nbsp;Brothers in Baghdad (ca. 1923) and printed by Rotophot A.G. in Berlin. The&nbsp;photographs have been attributed to A. Kerim, also listed as Abdulkarim in an&nbsp;introduction to a 2003 reprint of the album.&nbsp;The collection as a whole serves to contextualize certain&nbsp;monuments further described on Archnet. Included in the collection is a&nbsp;selection of photographs of an ethnographic nature. True to the publication,&nbsp;each image is captioned as it appears in the original. To the contemporary&nbsp;viewer, these captions may appear incorrect, colonial, or Orientalist: they&nbsp;offer insight into the time period of their creation.&nbsp;Camera Studies in Iraq is held by the<a href="http://hcl.harvard.edu/libraries/finearts/collections/semitic_photo.cfm" target="_blank"> Harvard&nbsp;Semitic Museum Photographic Archives</a>, located at&nbsp;the Harvard University Fine Arts Library.

Camera Studies in Iraq

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IAA706253

The Fez Photograph Album is a collection of black-and-white&nbsp;postcard proofs, which can be tentatively dated to 1920-1921 based on a&nbsp;political poster visible in one of the street scenes. None of the proofs&nbsp;contain photographer or studio information; whether some of them were printed&nbsp;as postcards is also unknown. These images provide exceptional documentation of&nbsp;the ramparts of Fez, as well as covering sites within Fez al-Bali, Fez&nbsp;al-Djedid, and the French colonial town of Fez Ville Nouvelle.&nbsp;Each proof displays a handwritten caption in French. The captions contain both the original captions and English&nbsp;translations with additional information, where available.

Fez Photograph Album

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IAA706262

This collection includes rare images of Swahili Kingdom&nbsp;structures and cityscapes, photographed by the scholar James de Vere Allen in&nbsp;Lamu, Diani, and Gedi, Kenya. Although the exact date of photography is&nbsp;unknown, the images were taken prior to 1988.&nbsp;James de Vere Allen was the author of&nbsp;The Swahili House:&nbsp;Cultural and Ritual Concepts Underlying its Plan and Structure (London: AARP,&nbsp;1979), Swahili Houses and Tombs of the Coast of Kenya (London: AARP, 1979), and&nbsp;Swahili Origins: Swahili Culture and the Shungwaya Phenomenon, among many other&nbsp;works. He is remembered by his fellow scholars for his wide, and occasionally&nbsp;unorthodox, contributions to the study of Swahili history and culture. One of&nbsp;his greatest achievements was the establishment of the Lamu Museum.&nbsp;Archnet thanks the family and friends of Mr. Allen for their&nbsp;assistance and generosity in publishing this collection.

James de Vere Allen: Swahili Kingdoms

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IAA706260

<a href="https://www.themaghribpodcast.com/">Maghrib in Past &amp; Present Podcasts</a>&nbsp;is a series of podcasts on the Arts, Humanities and Social Science of the Maghrib, i.e. the region of northwest Africa where, in the most limited definitions, the modern nations of Morocco, Algeria, and Tunisia are now. What is now Mauritania, Libya, and even other countries are also sometimes included.&nbsp; The episodes may contain recorded lectures, interviews, conversations, or performances. This collection contains selected podcasts from the series that are focus on topics relating to the built environment.&nbsp;&nbsp;Maghrib in Past &amp; Present is a production of the&nbsp;<a href="https://archnet.org/authorities/9342">American Institute for Maghrib Studies</a>&nbsp;(AIMS). Episodes are produced by its overseas research centers in North Africa:&nbsp;<a href="https://archnet.org/authorities/9345">Centre d’Études Maghrébines en Algérie</a>&nbsp;(CEMA),&nbsp;<a href="https://archnet.org/authorities/9344">Centre d’Études Maghrébines à Tunis</a>&nbsp;(CEMAT), and the&nbsp;<a href="https://archnet.org/authorities/9343">Tangier American Legation Institute for Moroccan Studies&nbsp;</a>(TALIM). Use of content for classroom purposes and on other non-profit educational websites is granted (and encouraged) with proper citation.The videos in this collection were created by Parker Halliday from the audio files and presentation materials found on the&nbsp;<a href="https://www.themaghribpodcast.com/" target="_blank" data-bypass="true">podcast website</a>.

Maghrib in Past & Present Podcasts

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IAA706545

The Mediterranean Postcards collection is comprised of postcards covering the area between Morocco in the west and Turkey to the east,&nbsp;with substantial representation of the Maghreb. While they&nbsp;were mainly collected before World War I (principally between 1902 and 1914),&nbsp;four cards display later dates.&nbsp;The original captions on the postcards are displayed&nbsp;in quotation marks within the image caption. It should be noted that, at times,&nbsp;the original captions are representative of the social attitudes (colonialist,&nbsp;Orientalist) of their era. Archnet captions provide a translation and, when&nbsp;possible, additional information.&nbsp;In keeping with their nature as objects, the&nbsp;Mediterranean Postcards are displayed in their entirety: their slightly asymmetrical shapes and dog-eared corners are a part of their history. Originally&nbsp;collected by a member of the Sinoutre family of Marseilles, the album is now&nbsp;housed at the Harvard University. Fine Arts Library.

Mediterranean Postcards

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IAA706261

A survey of the 18th century town of Bagamoyo, Tanzania, including some aerial views over the coastline. Bagamoyo was once an important trading port and has been shaped by Swahili culture, Indian and Arab traders and German colonial power.&nbsp;

Survey of Bagamoyo, Tanzania

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color slide

A photographic survey of Comoros,&nbsp;a sovereign archipelago island nation in the Indian Ocean off the eastern coast of Africa. The island nation is rich in Swahili culture influenced by Indian and Arab traders, Malay immigrants and French colonial power&nbsp;contributing to the islands' complex ethnic mix.

Survey of Comoros

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IAA706334

Tangier Then and Now

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IAA708445

Women in Turkish Architecture

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IAA706324

<a href="https://www.a3africa.org/" rel="noopener noreferrer" target="_blank">A3 /&nbsp;Archives of African Architectures</a>, a project led by Nigerian architect&nbsp;<a href="http://archnet.org/authorities/8858" rel="noopener noreferrer" target="_blank">Baba Oladeji</a>, aims to create multimedia archives documenting African architecture across the continent.&nbsp;The project focuses on heritage at risk, regardless of time period and regardless of cause. According to Oladeji, there are important contemporary projects that may never be fully realized in spite of their architectural merit,&nbsp;and there are historic sites that are forgotten and left to ruin.&nbsp;He argues that when these projects are un(der)documented, a culturally important part of a community's collective memory risks being lost to oblivion. Risk factors that cause this are diverse, including changing aesthetics and construction techniques, natural and manmade disaster, conflict, neglect, inaccessibility, gentrification and development, banditry and vandalism.&nbsp;A3 already has a vibrant online presence and is actively developing mobile-friendly online presence that will bring architecture alive to the local community.&nbsp;The aim, according to Oladeji, is to foster a popular appreciation of architecture and "a culture of archiving" that ensures knowledge of the built environment remains accessible for generations. The African continent is underrepresented on Archnet. Addressing that has long been a priority for me as Archnet Digital Librarian. We have made great strides in relation to the Maghreb, but progress has been slower from the Sahel southward. As of this writing, 60% of the 2,579 Archnet sites located on the African continent are in the 5 countries bordering the Mediterranean Sea. I am very enthusiastic about A3's ambitious initiative because it allows Archnet to address this imbalance by offering a platform for this important scholarly project.&nbsp;The&nbsp;<a href="http://archnet.org/authorities/7195" rel="noopener noreferrer" target="_blank">Aga Khan Documentation Center, MIT Libraries</a>&nbsp;(AKDC@MIT) has agreed to support A3 with training and a repository for the digital documentation they produce. Mr. Oladeji and his team will be the intellectual curators of this project, and developers of the content contained within this collection.&nbsp;I am excited they have chosen us to host this content, and I am eager to offer whatever help we can provide.&nbsp;&nbsp; Additional thanks are due to&nbsp;<a href="https://misti.mit.edu/" rel="noopener noreferrer" target="_blank">MIT International Science and Technology Initiatives</a>&nbsp;(MISTI), to the&nbsp;<a href="https://jwel.mit.edu/" rel="noopener noreferrer" target="_blank">Abdul Latif Jameel World Education Lab</a>&nbsp;(J-WEL)&nbsp;for their support of this project, as well as all the scholars and practitioners involved in the project.&nbsp;You will enjoy getting to know them as this collection develops.&nbsp; -<a href="https://www.archnet.org/authorities/2691" rel="noopener noreferrer" target="_blank">Michael A. Toler</a>, Archnet Digital Librarian, 2021

A3-Archnet Collaborative for the Documentation of Africa's Built Heritage

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IAA706530

This collection documents the architecture of the Arab and Muslim communities of <a href="https://www.archnet.org/authorities/9629" rel="noopener noreferrer" target="_blank">Worcester</a>, Massachusetts, the second-largest city in the state.&nbsp;Worcester is located in Central Massachusetts, approximately 65 km (40 miles) west of Boston. The city has long been an attractive settlement area for immigrants to the United States, especially after the completion of the Blackstone Canal from Providence, RI to Worcester in 1828. Though the canal ceased operations in 1848, the city had already been connected by railways lines to Boston, Providence, Norwich (Connecticut), and Albany (New York). By the end of the 19th c., there were also connections to Portland, Maine and Nashua, NH. These, in turn, linked to rail and naval transportation that connected far and wide.&nbsp;&nbsp;Industrialization sped up rapidly after the end of the American Civil War freed up funds and labor for activities other than wartime production.&nbsp;Worcester was already a textile center, but it soon became a center for wood and metalwork, as well as a producer of industrial machinery.&nbsp;Worcester became home to a number of colleges, universities, and cultural centers such as theaters and museums.&nbsp;&nbsp;Immigrants of Irish, French, Swedish, Finnish, Lithuanian, Polish, Italian, Greek, Syrian, and Armenian descent all came to Worcester from the mid-19th century through the early 20th century. Indeed, the city remains an attractive place for immigrants, though more recently from Asia, Central and South America, and refugees from conflict zones around the world. As a result of this and other factors, the Muslim community has grown considerably since the late 20th century. This collection focuses on the impact that Arab (Christian and Muslim) and Muslim communities have had on the city’s development and architecture.&nbsp;&nbsp;It springs from a video project sponsored by the Al Musharaka Initiative of the National Institute for Technology and Liberal Education (NITLE) carried out in 2004-2006 for inclusion in the Arab Culture and Civilization Online Resource.&nbsp;It was inspired by the book Arab American Faces and Voices. The Origins of an Immigrant Community by <a href="https://www.archnet.org/authorities/9715" rel="noopener noreferrer" target="_blank">Elizabeth Boosahda</a> (August 15, 1926-October 24, 2017).&nbsp;She also served as our primary advisor and guide as we filmed churches of the Arab-American Community, as well as the Worcester Mosque, both at its <a href="https://www.archnet.org/sites/20594" rel="noopener noreferrer" target="_blank">previous location</a> in a converted church, and at the site where the <a href="https://www.archnet.org/sites/20554" rel="noopener noreferrer" target="_blank">new mosque and school</a> was being constructed.&nbsp;&nbsp;&nbsp;The collection is currently being updated for ARCHNET.&nbsp;It is dedicated to Elizabeth Boosahda, an independent scholar and activist, without whose assistance, it would not have been possible.&nbsp;&nbsp;

Arab and Muslim Communities of Worcester, Massachusetts

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IAA708616

<a data-bypass="true" target="_blank" href="http://archnet.org/authorities/1910">Baroness Marie-Thérèse Ullens de Schooten</a> (1905-1989, Belgium)&nbsp;traveled widely over the course of her husband's diplomatic career, visiting&nbsp;Egypt in the 1920s and Iran in 1948, among other destinations. It was her&nbsp;second trip to Iran in 1951 that marked the start of Ullens' documentary work.&nbsp;She continued to work in Iran into the 1970s. In her audio recordings and her&nbsp;film work, Ullens focused on the Iranian nomadic tribes, notably the Qashqai&nbsp;(Kashkai), to whom she gained privileged access.&nbsp;The Harvard Fine Arts Library made the video files available to&nbsp;Archnet in 2010. Archnet researchers have edited the videos, adding titles,&nbsp;translations, and information on themes and locations that appear in the films.&nbsp;A selection of still images from the Ullens Collection at the Harvard&nbsp;Semitic Museum Photographic Archives is also made available on Archnet. In this online collection, images are grouped in sub-collections by geographic location (province or city), and all videos can be found in the sub-collection titled "Videos (Ullens Collection)." The online collection is a work in progress, and more material will be added over time.

Baroness Ullens de Schooten: Iran, Iraq & Egypt

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IAA706263

This collection features a series of maps&nbsp;of the old city (medina) of&nbsp;<a href="http://archnet.org/authorities/4016" rel="noopener noreferrer" target="_blank">Tunis</a>,&nbsp;created by architect&nbsp;<a href="https://archnet.org/authorities/3390" rel="noopener noreferrer" target="_blank">Besim S. Hakim</a>&nbsp;with the assistance of students. The maps show the organization of neighborhoods and services, and uses of space in this historic part of the city.

Tunis in the Husaynid Period: Urban Design and Planning Principles in Traditional Islamic Cities

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IAA706528

The Bing and Harrington Balkan Archives consist of the work of <a href="https://archnet.org/authorities/3230" rel="noopener noreferrer" target="_blank">J. Brooke Harrington</a> and <a href="https://archnet.org/authorities/3229" rel="noopener noreferrer" target="_blank">Judith Bing</a> who have collaborated in research on the vernacular architecture of the Balkans for more than twenty-five years. Their archives are comprised of an extensive collection of photographs, drawings, and publications on traditional wooden buildings and settlements in Slovenia, Hungary, Croatia, Bosnia and Herzegovina, Serbia, Montenegro, Kosovo, Macedonia, Albania, Greece, Bulgaria, Romania, and Turkey. The buildings examined include urban and rural houses, farm buildings, shops, and other economic structures, as well as religious sites and structures. Buildings were examined to better understand construction methods and details, formal, and spatial characteristics, and expression of social and cultural traditions. These buildings represent the diverse ethnic groups, cultures, and religions characteristic of the Balkans. As wooden structures are vulnerable, most buildings visited were constructed during the nineteenth century, but the oldest date back to the early eighteenth century. Bing and Harrington’s fieldwork involved archival studies, observations, and documentation at building sites, and consultation with regional experts. Bing and Harrington have written individually and jointly in peer-reviewed publications on topics related to their studies, and presented papers at numerous academic and international conferences. Exhibitions of their own photographs and drawings have taken place at a variety of institutions. Their long-term goal is widespread access to their research materials, by way of an <a href="http://balkanarchitecture.org/" rel="noopener noreferrer" target="_blank">internet-accessible, digital archive</a> and the Aga Khan Documentation Center at MIT. Researchers can view archival materials by appointment at MIT Libraries. A finding aid listing the materials in the collection is available on <a href="https://archivesspace.mit.edu/repositories/5/resources/1260" rel="noopener noreferrer" target="_blank">MIT Libraries' ArchiveSpace, </a>and information on making appointments is available on the <a href="https://libraries.mit.edu/distinctive-collections/" rel="noopener noreferrer" target="_blank">Department of Distinctive Collections website</a>.

Bing and Harrington Balkan Archive (BHBA)

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IAA706323

Buildings are like people; they are born, live a life, age, and eventually die. They go through a constant change that the architect may or may not have thought about while designing them.&nbsp; <a href="https://www.archnet.org/authorities/9" rel="noopener noreferrer" target="_blank">Charles Correa</a>, who has been called India's greatest architect by the Royal Institute of British Architects, has also been a recipient of the <a href="https://www.archnet.org/sites/1406" rel="noopener noreferrer" target="_blank">Aga Khan Award for Architecture</a> in 1998. While he is undoubtedly the most famous architect from the Indian subcontinent, significantly less work has been done on how his buildings have aged and transformed over the years.&nbsp; In the project "Charles Correa Now", I developed a series of experiential photo essays on his buildings and life around them in contemporary times. Done in a documentary-style visual narrative, I tried to portray them raw and different from the typical airbrushed architecture photos we see today.&nbsp; I visited ten of Correa's buildings and sincerely tried to find new and honest ways of looking at his architecture through the lens of people who make use of the structures. I chose a mixture of buildings across the spectrum of functions, degrees of transformation, and locations throughout India. The photo essays also bear the stamp of the world today.&nbsp;For example, the <a href="https://www.archnet.org/sites/20677" rel="noopener noreferrer" target="_blank">Church of Our Lady of Salvation</a> in Dadar (Mumbai), designed the architect in 1974-77, recently re-opened the church after a long closure due to the COVID-19 pandemic, sanitizing the church after every service. There is a photograph in this collection of an employee spraying a sanitization liquid in the nave of the church. It is not typical of architectural books. Similarly, in Ahmedabad, Similarly, photographs of <a href="https://www.archnet.org/sites/20675" rel="noopener noreferrer" target="_blank">Sardar Vallabh Bhai Patel Stadium</a> show children playing outside and in the corridors or under the stands of the stadium, which was officially closed. My work involved visually and qualitatively excavating traces, objects, motifs, testimonies and anecdotes around the lives of these prominent buildings. I interviewed people who were part of the design team, like <a href="https://www.archnet.org/authorities/6789" rel="noopener noreferrer" target="_blank">Nondita Correa Mehrotra</a>, building owners, occupants, workers, administrators and people who have intimately knowledge of Correa's work over time, including his wife, the artist, Monika Correa. I also accessed personal archives and correspondence to understand how the design process evolved.&nbsp; I also interviewed many long-term users of these buildings, such as Mr Devilal Patidar in <a href="https://www.archnet.org/sites/4961" rel="noopener noreferrer" target="_blank">Bharat Bhawan</a>, who told me that "it takes a lot of effort to keep these stones exposed." He was lamenting the indifference expressed by bureaucrats towards the design of the buildings, as well as the failure to maintain them long term. I also met Vijay, a young boy who sells bird feed at the <a href="https://www.archnet.org/sites/20673" rel="noopener noreferrer" target="_blank">Navrangpura Bus Terminal</a>. He told me that he was born in the bus stand after his mother arrived there from her rural village, and still considered it his home. Acknowledgments: This project would not have been possible if some people didn't humbly understand my musings of visualising the change in architecture. Thanks to <a href="https://www.archnet.org/authorities/2691" rel="noopener noreferrer" target="_blank">Michael Toler</a> from <a href="https://www.archnet.org/collections/1342" rel="noopener noreferrer" target="_blank">AKDC@MIT</a>, who liked the idea and helped me move forward with it. Thanks to <a href="https://www.archnet.org/authorities/9242" rel="noopener noreferrer" target="_blank">Raj Isar</a> and <a href="https://www.archnet.org/authorities/9244" rel="noopener noreferrer" target="_blank">Shiraz Alibhai</a> from <a href="https://www.archnet.org/authorities/2689" rel="noopener noreferrer" target="_blank">AKDN</a> for supporting this idea and helping it move forward.&nbsp; Special thanks to <a href="https://www.archnet.org/authorities/6789" rel="noopener noreferrer" target="_blank">Nondita Correa Mehoratra</a> and Monika Correa for welcoming me and discussing all that happened during the design and construction of Charles Correa's buildings. Tahir Noronha, convener at Charles Correa Foundation, for helping me with permissions to visit the facilities and helping me with last-minute emergencies.&nbsp; Thanks to Sejal Selwadia, Adwait Adke, Jay Vadodaria, Ninad Adhikari and Eti Sharma for joining me in <a href="https://www.archnet.org/sites/1406" rel="noopener noreferrer" target="_blank">Vidhan Bhawan</a>, Cidade De Goa, <a href="https://www.archnet.org/sites/4961" rel="noopener noreferrer" target="_blank">Bharat Bhawan</a>, and Gun House. Thanks to my mentors, Sandeep Virmani, Mary Norman Woods, and Kirit Dave, for their constant support and guidance.&nbsp; And special thanks to Natasha Maru for being my traveling partner on almost every trip and a strong support pillar.&nbsp; <ul><li><a href="https://www.archnet.org/authorities/8999" rel="noopener noreferrer" target="_blank">Nipun Prabhakar</a>, November 16, 2021</li></ul> NOTE:This collection contains records prepared by Nipun Prabhakar focusing on the sites as they exist and are being used today. In cases where there is an existing Archnet record for a site, that record appears under the heading "Related Sites." <ul><li>Michael A. Toler, Archnet Content Manager, 16 February 2022</li></ul>

Charles Correa Now: Nipun Prabhakar

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IAA706585

<div style="text-align: justify;"><p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">The photographs in this collection were taken by Dennis Briskin,
who served as a Peace Corps Volunteer in central Iran between 1967 and 1969.
Briskin's photographs depict both the built environment of cities such as Arak,
Hamadan, Kashan, Qum, Isfahan, and Tehran, as well as scenes of daily life
within them. Many of the images document ways of life that relied on
pre-industrial technologies that are increasingly forgotten today. The
collection does not represent a systematic attempt to survey the architecture
of a region, but rather a documentation of places and their inhabitants that
caught the photographer's attention.&nbsp;<o:p></o:p>

<p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"><o:p>&nbsp;</o:p>

<p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;">After serving in the Peace Corps, Dennis Briskin obtained a M.A.
in Journalism from the University of Missouri and settled in Northern
California. Other examples of his photographs can be seen on his website,&nbsp;<a href="http://thefaceofiran.com/" target="_blank" style="font-family: Helvetica, sans-serif;">The Face of Iran</a>, and in his unpublished show, Iran Before...&nbsp;(available upon request).&nbsp;<p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"> <p class="MsoNormal" style="margin-bottom: 0.0001pt; line-height: normal; background-image: initial; background-position: initial; background-size: initial; background-repeat: initial; background-attachment: initial; background-origin: initial; background-clip: initial;"> </div>

Dennis Briskin Collection

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Iran

Arak. Bakery.

This collection contains 10 panoramic images of Hama, Syria. They were created by Michel Écochard from smaller photographs stitched together.

Écochard: Hama Panoramas

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black-and-white panoramic photograph

hama_pho_008resize4.jpg

Ernst Cohn-Wiener, an eminent art historian in Berlin in the&nbsp;1920's, photographed the architecture of West Turkestan during two research expeditions in 1924 and 1925. The British Museum&nbsp;acquired the Ernst Cohn-Wiener&nbsp;Photographic Archive from the School of&nbsp;Oriental and African Studies of the University of London in 1998 where it had&nbsp;been kept as part of the Corpus Inscriptionum&nbsp;Iranicarum.&nbsp;The archive consists of 324 film negatives and 567 glass&nbsp;negatives. The photographs are essential for the study of architecture in the&nbsp;historic cities of Uzbekistan, Turkmenistan, Kazakhstan and Kyrgyzstan, as some&nbsp;of the buildings photographed are no longer extant, while others were&nbsp;over-restored during the Soviet era. Nearly seven hundred of these photographs&nbsp;are available on Archnet.

Ernst Cohn-Wiener: Uzbekistan, Turkmenistan, Kazakhstan and Kyrgyzstan

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IAA708345

The Mughals were an Indian Islamic dynasty that ruled most of northern India (including the area of present-day Pakistan) from the beginning of the sixteenth to the mid-eighteenth century. As patrons of architecture, the Mughals commissioned some of the finest buildings known to the world. This exhibition of late 19th-century black &amp; white photography taken by various photographers shows well-known monuments in Delhi, Agra, and Lucknow in a very different context&nbsp;and was curated especially for Archnet. The collection is made available through the generosity of an individual who collected these images through auction and private sale.&nbsp;

Faith and Places: Mughal Architecture in India

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