Apart from a short-lived introduction of paper currency in Ilkhanid Iran under the inspiration of Chinese models, paper money was virtually unknown in the Islamic world until the mid-19th century, as the right to strike Coins was one of the most traditional and important symbols of sovereignty. The Ottoman Empire was one of the first Islamic states to issue machine-made banknotes during the 1850s, as part of its modernization policy. As Western standards of administration, including the modern banking system, were put in force, paper money began to be circulated in Iran in 1890 by the Imperial Bank of Persia, and most of the other Muslim countries followed this trend along with their independence from Western countries in the early 20th century. Like coinage, paper money was regarded as an effective means of legitimizing political aspirations in the Islamic world, due to its state monopoly and worldwide circulation. Banknotes well reflected socio-political backgrounds, and their design was intended to proclaim Islamic identity, emphasizing Arabic or Persian calligraphy in parallel with Latin transliterations, as well as images of important antiquities, such as archaeological sites and historic mosques. Following Western models of paper money, portraits of rulers and politicians were also included. Despite a general antipathy toward figural representations, life-like depictions of public figures in banknotes served as iconographic propaganda....
Although various forms of courier service had existed in medieval times, a postal system was introduced in North Africa, West and South Asia as early as the mid-19th century in response to European political hegemony. Consequently postage stamps were issued in several Islamic states under the auspices of European sponsors (India in 1854; Ottoman Turkey in 1863; Egypt in 1866, Iran in 1868 and Afghanistan in 1871). It was, however, during the second half of the 20th century that the themes and designs of postage stamps issued in the Islamic world became diversified and worthy of observation as a primary historical, cultural and political document. The stamp began to be viewed as an instrument of propaganda among newly independent countries, and small yet graphically and realistically depicted national flags, symbols of nations, cultural heritage, historical events, as well as the portraits of political leaders and local heroes, were considered as an effective visual tool in conveying a political and cultural message. Propagandistic stamps, for example with the theme of independence from foreign forces in most Islamic countries and martyrdom in post-revolution Iran, continue to be issued as a reminder of national events. The architectural heritage of both pre-modern and modern times was also one of the popular iconographic themes used in Islamic stamps, and this was due not only to the glow of national pride but recently to the promotion of the tourism industry. In addition to the frequent appearance of the Dome of the Rock in Jerusalem, each state made a deliberate choice of iconic buildings for its stamp design so as to reinforce its contribution to Islamic civilization: in Turkey, Ottoman mosques and minarets, for example the Hagia Sofia and the Blue Mosque, were frequently used in the postage design; the Ka‛ba in Mecca and the Mosque of the Prophet in Medina, two of the most important Islamic monuments, appeared on the stamps of Saudi Arabia. The use of portraits in stamp design was long discouraged in some countries due to orthodox Islamic beliefs, while countries with rich pictorial traditions, such as Iran, did not hesitate to portray human figures on postal stamps....
Christopher C. Mead
(b Lebanon, MI, June 24, 1936).
American architect. Predock was a leading architect of the American Southwest, who applied lessons learned in the desert to commissions across North America, Europe, North Africa, the Middle East and Asia. In 2006, the American Institute of Architects awarded him its highest honor, the AIA Gold Medal, for a place-based method of design that has earned him international recognition for his ability to express the geological, ecological and cultural context of each project in buildings conceived as abstracted landscapes.
In 1954, Predock left Lebanon, MI, to study engineering at the University of New Mexico in Albuquerque. Donald Schlegel, an architect in the engineering program, turned Predock’s attention to architecture and encouraged him to complete his education at Columbia University in New York (BArch 1962). A year of travel across Europe (1962–3), supplemented by internships with I(eoh) M(ing) Pei (1962), The Architects Collaborative (1963) and Gerald McCue (...
A category of buildings designed to house retail and shopping. It includes arcades, department stores, shopping malls, strip centres, and big-box stores. Retail architecture exists in small towns, big cities, and suburbs: anywhere people congregate. It is as ubiquitous in time and space as the organized exchange of goods for money. It is distinguished from commercial architecture, which, in real estate and architectural practice, can refer more generally to any property that produces income for its investors or owners but does not refer to a building’s architectural function (i.e. retail).
Buildings housing commercial activity have existed since antiquity. Anthropologists have described exchange halls and commercial structures in many cultures, including Roman, Aztec, Tang dynasty China, and Mesopotamian. During the medieval and Renaissance periods, market halls and exchanges were built in cities such as Antwerp, Bruges, London, and Venice, sheltering trading activities at ground level and municipal government functions above (...
Lebanese, 20th – 21st century, male.
Born 1949, of Beirut origin.
Painter, draughtsman, potter. Designs for tapestries.
Wakim Wakim studied sculture between 1967 and 1971 and then moved to Paris, where he studied at the École des Beaux-Arts in 1972. In 1975 he began studying ceramics at the École des Arts Appliqués and tapestry in the workshop of Roger Caron. In ...