#keith critchlow

[emmabee14]

guided by truth, we create beauty to serve the good

- Keith Critchlow

[agfa8x]

Keith Critchlow, Order in Space: A Design Source Book (1969)

[snakes-and-island-fires]

Chartres Cathedral - A Sacred Geometry (documentary w/ Keith Critchlow)

[movies-to-add-to-your-tbw]

Title: Batman: Year One

Rating: PG-13

Director: Lauren Montgomery, Sam Liu

Cast: Ben McKenzie, Bryan Cranston, Eliza Dushku, Jon Polito, Alex Rocco, Katee Sackhoff, Sara Ballantine, Jeff Bennett, Steve Blum, Roark Critchlow, Grey DeLisle, Robin Atkin Downes, Keith Ferguson, Danny Jacobs, Nick Jameson, Liliana Mumy, Pat Musick

Release year: 2011

Genres: action, crime

Blurb: Wealthy playboy Bruce Wayne and Chicago cop Jim Gordon both return to Gotham City, where their lives unexpectedly intersect.

[noosphe-re]

From the point (seed), the line (as shoots from the seed) grows both upward and downward. From the light-seeking upper stem arise the planar leaves, and finally beyond these the flowering form delineates a ‘solid’ or three-dimensional field of action. The three-dimensional aspect will take a profile that demonstrates the movement from bud through to whole flowers. Once this process has reached a certain recognizable stage, we look at the ‘face’ of the flower in a two-dimensional manner to see how the number shapes and patterns of the petals are displayed.

Keith Critchlow, The Hidden Geometry of Flowers: Living Rhythms, Form and Number

[80smovies]

[theoscarsproject]

The California Reich (1975). A documentary about the Nazi party in America.

Oof, this is a hard one to watch, in no small part because despite it being made 40 years ago, it feels as relevant now as it likely did then. Utilising a cinema verite style, the documentary observes a Nazi party operating in California, displaying their prejudices and their fears, and their terrifying fascist wants as a naked reality. It’s a really affecting documentary. 7.5/10.

[father-of-the-void]

Prior to the current tyranny of the materialistic, mechanical model of our universe, the wise people of all traditional cultures viewed the world as a continuous spectrum.

Keith Critchlow

[1five1two]

The fact that contemporary mechanical materialist science cannot explain what life is, only what it does, serves as a warning…We should be extremely wary of adopting any mechanical (or so-called functional) theory to cover our ignorance when considering as important a phenomenon as life itself.

What is most distressing is that without a definition for life, and without a traditional reverence for life, the contemporary ‘scientistic’ community gains so much of its knowledge of living creatures by killing them.

Dissecting living things into smaller and smaller parts has nothing to do with the traditional meaning of ‘inner’.  Life is a motive force within, and is equally a whole.

Keith Critchlow

[elirwen]

New audio drama starring Colin Morgan

Colin is doing another audio drama for Audible. It’s called The Vault and should be available from 31st October 2019 (it’s available for pre-orders now here).

Publisher's Summary

West Berlin, 1986.

The Cold War has not yet thawed, political tensions inspire bloody retribution and trust is a rare commodity - even amongst allies.  

Harry Mackintosh is the head of MI6’s Berlin Station. When four of his best field agents are murdered by the Stasi during a failed defection operation, he has no choice but to respond. East German intelligence has become increasingly ruthless. MI6 has been overrun. Mackintosh knows that he won’t be able to fight back, unless he’s provided with a new kind of operative.  

London.  

Belfast-born Jimmy Walker is a career criminal, desperate to leave the world of organised crime behind. He’s made just enough money to think about going straight. He wants to be a family man. He wants to stay alive for his wife and son. He wants to be the man they deserve.  

He reluctantly agrees to one final job with the intention that it will be his last.  

Little does Jimmy know that he’s been set-up. The sins of his past are about to catch up with him.  

Framed, arrested and imprisoned, Jimmy is about to become a pawn in the politics, corruption and underground conflicts of Europe. Mackintosh appears in Jimmy’s Scotland Yard cell and makes him an offer. Go to Berlin to serve Queen and Country and he will be pardoned. The alternative? A life behind bars. Jimmy has no choice but to accept. He infiltrates East Berlin and, operating under cover as an arms buyer for the IRA, he works his way to the heart of the Stasi machine until he locates the defector. But all is not as it seems. Mackintosh has an ulterior motive. So does Jimmy. Neither man can trust the other and, as their objectives clash, it looks as if only one of them is going to get out alive.

Set in divided Berlin at a pivotal moment in history, and soaked in '80s nostalgia, The Vault is a thrilling adventure set in Mark Dawson’s million-selling Group Fifteen world.    

Featuring: Atilla Akinci, Laila Alj Philip Arditti, Kieran Brown, Ben Cartwright, Stephen Critchlow, Vera Filatova, Kobna Holdbrook-Smith, Gerran Howell, David Menkin, Colin Morgan, Harry Myers, Erich Redman, Mac Keith Roach, Lizzie-Aaryn Stanton and David Thorpe.

Link to Audible.  

[doorsofmorocco]

Elements of Islamic Architecture

Our field course in Morocco is centred on, Islam, Coloniality, and Tradition, and my project is meant to apply these course themes to a specific artefact that I have encountered in Morocco. In choosing Moroccan doors I had to dig a little deeper into the history, psychology, functionality, and religiosity which underlies such a seemingly mundane object. Of course, not everything about Moroccan doors needs to be so complex - they’re also just really beautiful (which is what drew me to them in the first place!) I wanted to look into exactly what makes them so beautiful in terms of their symbolic aspects and how exactly a door could become an example of, as Jean-Louis Michon puts it in Introduction to Traditional Islam, “translating the principles of Islam into an aesthetic language.” (2008, 51)

Traditional Islam is the manifestation of Islamic values within every day life. According to Jean-Louis Michon, Islam, by its very nature, “gives life to a “tradition” not only because of its long history but also because the touch of the scared has extended to every significant aspect of the life of Muslims” (2008, 3). This can be found among social institutions (education, welfare programs, and tax collection for example), but it can also be found in the diverse history of Islamic art - encompassing fields such as art, music, literature, and architecture. Michon considers these manifestations to be a case of, “Islamic principles taking on concrete forms” (2008, 3). Moroccan doors, in all their diversity, do tend to have some common key features which are also key features of Islamic art as a whole. The three most common elements of Islamic art: Arabic calligraphy, the use of geometrical patterns, and Arabesque (floral and vegetal motifs) (Oweis, 19).

Arabic calligraphy is likely the oldest example of Islamic art - it was used for the written Qur’an. In fact, the Arabic word for calligraphy is “handast al-khatt” which literally translates to “the geometry of writing.” (Oweis, 20) The geometry of Arabic calligraphy is meant to represent the perfection of God’s creation as well as provide a beautiful medium for His words. In this Islamic world, one will see the universal application of Arabic calligraphy on items such as: wall-hangings, every-day objects, entrances to homes and mosques, engraved in walls or on doors, and even now - on touristy souvenirs like keychains and magnets. Oweis summarizes, “the use of Arabic calligraphy as an art form and as a major and unifying element in Islamic art and architecture has a symbolic connection to the word of God.” (21)

Secondly, but in close connection with calligraphy are geometric patterns which are also meant to represent the beauty and glory of God’s creation. Some designs are simple while others are more complicated but all of them have the same shapes at their heart. In fact as summarized by Oweis: Abas and Salman (1965) claimed that geometry represents, “the unifying intermediary between the material and the spiritual world” (23). Seyyed Hossein Nasr describes the octagon as a rotated square representing the four elements - earth, air, fire, water. Keith Critchlow argued that the with the circle as a starting point comes the three most important geometric shapes: the triangle which comes from three circles representing, “human consciousness and the three most basic human functions, ingestion, digestion, and excretion” (23). By expanding the circle further we also get the square and the hexagon and, “a square often symbolizes earth and its materiality and a hexagon represents heaven” (23).

Lastly is the Arabesque - the use of floral, vegetal, or plant forms in a spiral pattern (23). The written Qur’an itself is often decorated with floral or plant motifs as there are many mentions of, “plants, trees, flowers, and the beauty of nature” (23). The use of Arabesques is also indicative of a deeper and other-wordly connection. The imagery of paradise in the hereafter reflects gardens, nature, and abundance.

Each of these elements can be found all across the Islamic world. Although styles may differ slightly, there are commonalities which can be shared between cultures across a vast geographical area. The subsequent pictures show examples of these three elements on the doors of Morocco, following this there will be pictures of doors from other Muslim-majority countries in order to show the connection.

References:

Michon, Jean-Louis. Introduction to Traditional Islam. World Wisdom Inc. 2008.

Oweis, Fayeq S. “Islamic Art as an Educational Tool about the Teaching of Islam.” Art Education Vol. 55, no. 2, One World, 2008.

[madebyjones]

More books. DESIGNA, another Wooden Books compendium, and Islamic Patterns by Keith Critchlow. #books #newbooks #geometric #artbook https://www.instagram.com/p/BtLb5IqgvI1/?utm_source=ig_tumblr_share&igshid=vqkxb2jqvsm6

[architectnews]

Cambridge Mosque, Romsey Building

Cambridge Central Mosque, Romsey Building Images, Islamic Architecture England, Stirling Prize News

Cambridge Mosque Building, UK

Cambridge Mosque Building, southeast England design by Marks Barfield Architects

post updated 16 September 2021

Cambridge Central Mosque shortlisted for RIBA Stirling Prize 2021

Design: Marks Barfield Architects

Photos by Morley von Sternberg

Jury Report The urban intervention of inserting a mosque capable of welcoming 1000 worshipers within a low rise, residential neighbourhood, without dominating it, is masterful. Its presence is clear but modest, considering the size of the mosque relative to the two storey terrace houses around it. This is achieved by setting it back from the street, progressing through the Islamic garden, then gradually increasing in scale to front portico, atrium with café to one side and study centre to the other, through to central ablution areas. The building then rises at the rear to the largest mass of the prayer hall, which shifts in geometry to face Mecca.

The defining internal characteristic of the mosque is the timber ‘trees’ which form the structural support for the roof and the rooflights. The geometry of the trees was developed through work with geometric artist, Keith Critchlow, creating the underlying geometry of the mosque. It combines an Islamic ‘the Breath of the Compassionate’ pattern into a structural grid that supports the roof and is then brought to a point at the columns. It is a simple device that combines the structural logic of supporting a large span with few columns and a celebration of the structural material and its decorative possibilities, bringing to mind both Fosters’ Stansted Airport, and Kings College Chapel.

The external brick tiles that clad the CLT structure are from traditional Cambridge Gault and red brick colours. The protruding headers form a pattern of Arabic Kufic calligraphy that reads ‘say he is God (the) one’.

Social and environmental sustainability were central to the competition-winning scheme and have been delivered. The intent was to produce a building that is in accord with the spiritual belief that humanity’s role is as a responsible custodian of nature and should minimise its carbon footprint. The building has achieved Net Zero Carbon energy on site in use. The competing elements of the demand for car parking to suit large events with elderly congregations, creating an underground car park and the environmental consequences of embodied carbon have been recognised. The passive and active sustainable measures incorporated within the building meet and exceed some elements of the RIBA 2030 targets and other elements of the design have future-proofed the building to allow for predicted climate change.

Material selection is exemplary, with the superstructure predominantly timber, low carbon concrete specified, and natural insulation resulting in minimal embodied carbon. The selection of Cradle to Cradle Certified products also demonstrates the conscious efforts to minimise the building’s impact on the environment.

Water consumption is also low, meeting the RIBA 2030 Climate Challenge target and confirmed by meter readings – in the water stressed area of East Anglia this is particularly important. The transformation of an impermeable surface to a building with green roofs to assist with local surface water runoff.

Post occupancy evaluation data shows in use consumption are within 15% of the energy predictions, which suggests a narrowing of the performance gap.

Central Cambridge mosque is a demonstration of how architecture can embody religious and cultural philosophy and traditions while utilising sustainable and contemporary materials. It is a building of evident programmatic clarity and function, where one of those essential functions is religious contemplation and delight. It has created a new, 21st century, non-denominational British mosque that is both specific to its place and time and which resonates with wider Islamic and religious buildings. To have achieved this in Cambridge, with its world famous tradition of structural expression in religious architecture yet without contrivance is a remarkable achievement.

Project Architect of the Year Matthew Wingrove is a passionate advocate for the building. The client, Iman Sejid Mekic, who operates the building every day, clearly respected his professional expertise and evidently liked him too. That he was able to bring to fruition a building that picks up the original competition winning design concept and deliver it to its full potential is a testament to his capabilities and his dedication.

Client of the year – Cambridge Mosque Trust To launch an RIBA international competition and select a design and a design team and carry it through to successful completion over the following decade is testament to the commitment and dedication of the client to producing a contemporary mosque for the 21st century and an enduring piece of architecture. In particular, Dr Tim Winter, Shaykh Zayed Lecturer in Islamic Studies, Director of Studies, Wolfson College should be recognised both for the scale of the ambition, for pursuing a mosque that sets a new environmental and inclusive benchmark, and for the Trust’s rigorous and steadfast approach to seeing it through to completion.

Cambridge Mosque Building, UK – Building Information

RIBA region: East Architect practice: Marks Barfield Architects Date of completion: April 2019 Client company name: Cambridge Mosque Trust Project city/town: Cambridge Contract value: £23,100,000.00 Internal area: 4,900.00 sqm Cost per m²: £4,385.00 / sqm Contractor company name: Gilbert Ash

Consultants

Structural Engineers: Price & Myers Environmental / M&E Engineers: Skelly & Couch Project Management: Bidwells Quantity Surveyor / Cost Consultant: Faithful + Gould Landscape Architects: Emma Clark with Urquhart & Hunt Timber Engineer: Blumer Lehmann Geometric Artist: Professor Keith Critchlow Acoustic Engineers: Ramboll Fire Engineer: Harris TPS CDM Principal Designer: Faithful + Gould Planning Consultant: Bidwells

Awards

• RIBA Regional Award • Regional Project Architect of the Year • Regional Client of the Year • Regional Building of the Year

Stirling Prize

Brick Awards 2019

Cambridge Central Mosque award – shortlisted for Brick Awards 2019

28 Nov 2011

Cambridge Mosque Building

Europe’s first eco-friendly mosque

Address: 309-313, Mill Rd, Cambridge CB1 3DF

Phone: 01223 654020

Design: Marks Barfield Architects

Ambitious Cambridge Mosque Project Submitted for Planning Permission

A planning application for the proposed new mosque in Cambridge has been submitted to Cambridge City Council.

Designed by a team led by Marks Barfield Architects and including Prof. Keith Critchlow (artist), Jacobs (structure), Skelley and Couch (services), Emma Clark (landscape), and Bidwells (project management and planning), the proposed mosque will allow the downsizing of the existing overcrowded facility, housed in a former chapel on Mawson Road, which is no longer physically capable of accommodating Cambridge’s growing Muslim community.

Entrance View of the Proposed Mosque from Mill Road Visitors will be able to experience a gradual transition, through a garden, a covered portico, and an atrium, into the main prayer hall which is oriented towards Mecca. The building will be naturally lit and create an overall impression of calm, stillness, stability, quiet and focus: image © Marks Barfield Architects

Located a few hundred yards from the current mosque, the design of the new structure strives for an English idiom while drawing inspiration from the natural world, and acknowledging Islamic art as a living tradition – without resorting to clichéd English or Islamic references.

On entering from the street, visitors will experience a gradual transition through a garden, a covered portico, and an atrium, until they reach the main prayer hall which is oriented towards Mecca. Trees give way to a covered space around a fountain, and then to the mosque itself, a private, inner space which soars to a height of three stories.

The enclosing diaphragm walls are faced in local gault brick and step back from the building perimeter up to the central prayer hall. Sixteen interlaced glue-laminated timber columns, evocative of English fan vaulting or Islamic arabesque, support the geometrical roof of the inner sanctuary. Glass oculi above the columns bathe the interior in natural light. A golden dome rises above the mihrab and minbar. In hours of darkness, high-efficiency LCD lights provide a soft but effective luminescence.

Aerial View of the Proposed Mosque Looking West Towards the City Centre Accommodating up to 1,000 men and women, the mosque will have green roofs and will be faced in local gault brick. It will step from the site perimeter up to the central prayer hall and its golden dome. The site also accommodates a community café, teaching rooms, two residential units, 120 bicycle parking spaces, and an underground car park for 80 vehicles: image © Marks Barfield Architects

The site also accommodates a community kitchen and café, teaching rooms, two residential units and an underground car park for 80 vehicles. As Britain’s first ‘eco-mosque’, the structure is highly energy-efficient, with heat pumps, heat recovery systems, water recycling, and green roofs ensuring a minimal carbon footprint, emphasizing humanity’s role as a responsible custodian of creation. The building will act as an oasis surrounded by cypress trees. The prayer hall will have a capacity of up to 1,000 people.

The design of the proposed Cambridge mosque celebrates the miracle of nature and subtly expresses the mathematical order which underlies it.

On behalf of the Trust, Chairman Tim Winter said:

‘We have spent time consulting with the local community and local stakeholders to ensure this building will be truly inclusive, sustainable, safe, secure and respectful of its context. It will be easily accessible by public transport and on foot, and will have its own underground car park with 80 car parking spaces, supported by a travel plan which ensures that car parking does not become an issue for local neighbours. Our hope is that this will become a landmark building which will inject new life into the Romsey area of Cambridge, a monument of which the local and wider Cambridge community can be proud’

Cambridge Mosque Project – Background Information

Professor Keith Critchlow

Professor Critchlow founded the Visual Islamic and Traditional Arts programme (VITA) at the Royal College of Art. VITA now forms the core education programme of the Prince’s School of Traditional Arts of which Professor Critchlow is Professor Emeritus. He has written extensively on Islamic art and architecture. His most recent book is entitled ’The Hidden Geometry of Flowers: Living Rhythms, Form and Number’ (2011).

The Muslim Academic Trust (MAT)

Founded in 1996, the Muslim Academic Trust is a charity which sponsors and supports a wide range of projects in the service of the Muslim community.

Cambridge Mosque Building images / information from Marks Barfield Architects

Marks Barfield Architects

Location: Mill Road, Cambridge, England, UK

Cambridge Architecture

Cambridge Architecture Design – chronological list

Cambridge Architecture Walking Tours : city walks by e-architect

Mosque Buildings

Cambridge Architecture

Cambridge Architect

Gonville & Caius Boathouse – Architecture Competition Belsize Architects Gonville & Caius Boathouse

Clare College – New Court van Heyningen and Haward Architects Clare College New Court

Cambridge University Department of Architecture Extension Mole Architects Cambridge School of Architecture

Comments / photos for the Cambridge Mosque Project – Islamic Architecture UK page welcome

The post Cambridge Mosque, Romsey Building appeared first on e-architect.

[andreakerbrie]

Toda Flor é uma professora de #geometria e #simetria. As "verdades eternas", como Platão as chamava. Nesse sentido, diz ele, as flores podem ser tratadas como fontes de lembrança — uma maneira de recordar nossa própria integridade, bem como de despertar nosso poder interior de reconhecimento e consciência. O que é evidente na geometria da face de uma flor pode nos lembrar da geometria subjacente de toda a existência. "A natureza, de certa maneira, expressa razões invisíveis (ou poderes produtivos) através de formas visíveis." ~ Iambilichus → Post inspirado no livro "The Hidden Geometry of Flowers: Living Rhythms, Form and Number" de Keith Critchlow. 🌸🏵️🌻🌼🌺💮 Fonte: Geometria Sagrada https://www.instagram.com/p/CS25kPNtFzb_Q7kvNzWLTF4k7atPQqVmvVQiUc0/?utm_medium=tumblr

[freeepubkindle]

EPUB  PDF Islamic Patterns An Analytical and Cosmological Approach {read online}

EPUB / PDF Islamic Patterns: An Analytical and Cosmological Approach {read online}

Islamic Patterns: An Analytical and Cosmological Approach

[PDF] Download Islamic Patterns: An Analytical and Cosmological Approach Ebook | READ ONLINEhttp://read.ebookcollection.space/?book=0500270716

Author : Keith Critchlow Publisher : Thames & Hudson ISBN : 0500270716 Publication Date : 1976-12-1 Language : Pages : 192

To Download or Read this book, click link below:

http://read.ebookcollection.space/?book=0500270716

PDF

Synopsis : EPUB / PDF Islamic Patterns: An Analytical and Cosmological Approach {read online}

Islamic art has long been misunderstood in the West as no more than decoration. This study explains how the geometrical patterns of Islamic art reveal intrinsic cosmological laws. The primary function of the patterns is to lead the mind from the literal world towards the underlying reality.

[80smovies]

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