#historical-society

#historical-society

Lebanese authorities contacted Unesco officials to express their 'deepest concerns' over reports indicating the 'destruction and complete demolition of the Citadel of Chama' by military bulldozing operations.'

Sabahs are made entirely by hand from 100% leather in either Texas or Turkey—two regions with distinct yet deeply rooted relationships to the material. The result is a shoe that varies subtly from pair to pair, even within the same size.

The discovery comes on the heels of other recent discoveries of Mesoamerican and colonial-era sites and artefacts during archaeological salvage work associated with planning a new 232km passenger rail line between Mexico City and Querétaro.

Knowles's performances, such as Make a Salad and Identical Lunch, showcased her unique approach to art through food, engaging audiences in the experience of preparation and consumption.

Spanish settlers moved to the East Bay starting in 1776 to take land that had been home to indigenous people for thousands of years, and made it into fiefdoms of various dons like the Peraltas.

The most significant find was discovered during construction of one of the wind turbine platforms. Objects of bronze and amber were found close together, leading to the excavation of a hoard of Bronze Age jewelry dating from around 1500 to 1300 BC.

The 135-year-old building has remained shrouded by plywood to protect passersby from the crumbling stone, which has formed a reddish beach on the shed below. The church's congregation dwindled to 12 members and had to fire its pastor to save money.

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.

Bregman claims, 'Today the whole of Europe risks turning into one big Venice, a beautiful open-air museum. A great destination for Chinese and American tourists. A place to admire what was once the centre of the world.' This statement encapsulates the concern that Europe is losing its cultural significance.

"The object of the Museum is to acquire power," announces a crusty old archaeologist in Penelope Fitzgerald's 1977 satire, The Golden Child. It isn't a goal he respects. He wants the museum where he's settled into semiretirement to genuinely devote itself to educating its visitors. Instead, he correctly charges, its curators act like a pack of Gollums, hoarding "the art and treasures of the earth" for their own self-aggrandizement and pleasure.

In a white and sterile office that could belong to any one of the warehouses that dot this industrial strip between Brisbane's airport and horse-racing precinct, a young woman is engrossed in a puzzle. Only this puzzle comprises, perhaps, three different sets, each almost (but not quite) identical to the other and none likely to be completed. Emily Totivan wears blue plastic gloves. She is an archaeology student helping to catalogue artefacts.

The significant number of ancestors held in UK museums is extremely distressing and symbolic of the colonial origins of these collections. We hope that the responses gathered by The Guardian will be shared with the relevant communities to support them in bringing their ancestors home.

Heritage sites constitute complex spatial archives in which architecture, history, and collective memory converge. They encompass a wide spectrum of contexts-from archaeological remains, ancient and historic townscapes, UNESCO-listed landscapes, to early modern civic structures and industrial infrastructures. Yet these environments confront challenges: climate change, urban transformation, disaster, shifting social needs, and the gradual erosion of material fabric. Revitalization and restoration projects respond to these conditions by positioning architectural and spatial practice as an active mediator between preservation and the contemporary topologies.

When I enter a museum, I'm not looking for what's on the walls, I'm looking at what's behind them.