Using Kuwait as a case study and Pan Arab Modernism as a lens, this book comes to fill two voids in the literature on Middle Eastern architecture: one is in practice and the other is in history. The current practice of architecture in Kuwait, the Gulf and the larger Middle East, is typically a-contextual and lacking any understanding of the local context. The architectural history, on the other hand, ignores the larger context of the Middle East and the influence of Pan Arabism is not configured into many analyses. Thus, this project seeks to tackle both. By providing a [re]contextualizing of the architectural history of Kuwait and bringing forgotten protagonists back into the dialogue, a nuanced reading of Pan Arab Modern architecture emerges. This book It aims to create a “knowledge generation” which can [re]define how a local generation is being influence on the ground. CONTRIBUTORS: Prof. Eve Blau (GSD, Harvard) on the influence of Oil on Urbanism; Prof. Michael Kubo (Univ. of Houston, Texas) on the relationship between The Architects Collaborative (TAC) and the local Kuwaiti firm Pan Arab Consulting Engineers (now PACE); Caecilia L. Pieri ( Associate Researcher - ‎Institut Français du Proche-Orient) on the influence of Iraq modernisation in Kuwait; Prof. Iain Jackson (Univ. of Liverpool) on the influence of British Architects on the Middle East (tropical architecture, expertise); Prof. Hyun-Tae Jung (Lehigh University) on the relationship between Skidmore, Owings & Merrill (SOM) and PACE and the photographic work of the artist Antje Hanebeck commission by PACE for this project.

The Fourth Ordeal tells the history of the Muslim Brotherhood in Egypt from the late 1960s until 2018. Based on over 140 first-hand interviews with leaders, rank-and-file members and dissidents, as well as a wide range of original written sources, the story traces the Brotherhood's re-emergence and rise following the collapse of Nasser's Arab nationalism, all the way to its short-lived experiment with power and the subsequent period of imprisonment, persecution and exile. Unique in terms of its source base, this book provides readers with unprecedented insight into the Brotherhood's internal politics during fifty years of its history.

Exploring visual culture, design and politics in 1960s Beirut, this compelling interdisciplinary study examines a critical period in Lebanon's history.

This book offers a novel and interdisciplinary exploration of revolution as situated protest in Tunisia. Larbi Sadiki and Layla Saleh present extensive local evidence to demonstrate that popular resistance has been a mainstay of modern Tunisia before, during, and after colonialism. Protest makes peoplehood, and peoplehood makes protest: neither is self-contained. The book explores the rich history and diversity of insurrectionary politics in Tunisia from the onset of protests in the 1960s up to the 2011 Arab Spring revolution and beyond, exploring bottom-up activism (hirak) and revolution (thawrah). The six protestscapes presented in the volume (unions, student activists, the phosphate uprising, the 2010-11 revolution, Kamour, and football ultras) offer a novel way of examining partial 'moving snapshots' that are crucial to understanding revolution. They counter the prevailing narrative of revolution as leaderless, a spontaneous surprise with no historical pedigree or inherited learning, and depict instead an active citizenry whose collective memories are stamped by trials of anti-colonial and anti-dictatorial rebellion.

Modern Art in the Arab World: Primary Documents offers an unprecedented resource for the study of modernism: a compendium of critical art writings by twentieth-century Arab intellectuals and artists. The selection of texts--many of which appear here for the first time in English--includes manifestos, essays, transcripts of roundtable discussions, diary entries, exhibition guest-book comments, letters, and more. Traversing empires and nation-states, diasporas and speculative cultural and political federations, these documents bring light to the formation of a global modernism, through debates on originality, public space, spiritualism and art, postcolonial exhibition politics, and Arab nationalism, among many other topics. The collection is framed chronologically, and includes contextualizing commentaries to assist readers in navigating its broad geographic and historical scope. Interspersed throughout the volume are sixteen contemporary essays: writings by scholars on key terms and events as well as personal reflections by modern artists who were themselves active in the histories under consideration. A newly commissioned essay by historian and Arab-studies scholar Ussama Makdisi provides a historical overview of the region's intertwined political and cultural developments during the twentieth century. Modern Art in the Arab World is an essential addition to the investigation of modernism and its global manifestations. Publication of the Museum of Modern Art Distributed by Duke University Press

It also includes the role of foreign powers in the Middle East, especially France, Great Britain, the former Soviet Union, and the United States."--BOOK JACKET.

Taking as a starting point a design for a mobile theater made at the Architectural Association of London between 1970 and1971 by Spanish architect Javier Navarro de Zuvillaga (born 1942), this book traces the architectural counterculture of that time and the relations with the alternative performing arts. Architect Javier Navarro de Zuvillaga (1942) graduated in 1968 at Madrid School of Architecture. During the academic year 1970-1971 he travelled from Madrid to London thanks to a grant of the British Council to complete his postgraduate training at the Architectural Association. There he designed a building called Mobile Theater. It was a theatrical device composed of several 8 x 2,5 meters trucks carefully designed, which contained all the building elements needed to shape a space for the performing arts or other collective uses. The assembly time --estimated for four workers-- was six and a half hours. This project was internationally showed and published between 1971 and 1975, but was never built. This book intends to release this project, largely ignored by canonical historiography, and to culturally place it in time and space: the agitated city of London in 1971. After the convulsions of May 1968, architectural counterculture rearmed on very different fronts, from the disciplinary rally to the guerilla positions. This architectural design accounts for these events, since it had a temporal development that goes beyond its mere conception as an artifact. The long and frustrated process for construction --1969 to 1976-- calls for a particular intra-history, which this books will tell.