Architecture - The Times Of Central Asia

Viewing results 1 - 6 of 11

Urban development

Kyrgyzstan Urged to Shift from Rural Focus to Urban Development

Kyrgyzstan must develop modern urban infrastructure and gradually move away from its predominantly rural development model, according to Nurdan Oruntayev, Director of the State Agency for Architecture, Construction, and Housing and Utilities. Speaking to local media, Oruntayev emphasized the need for a strategic transition toward urbanization to drive economic growth and job creation. Master plans for the development of the towns of Karakol, Manas, and Osh have already been approved. These include the construction of high-rise residential buildings, signaling a broader shift toward urban expansion. “We must develop cities and move toward an urban infrastructure system. We must have megacities. The construction industry makes a significant contribution to the economy and provides jobs for many citizens,” Oruntayev said. He noted that the average annual growth in real estate prices in Kyrgyzstan ranges between 20-30 percent, reflecting strong demand and rising investor interest. According to official data, construction has been a primary driver of economic growth in recent years, with GDP growth consistently exceeding 10 percent. However, this rapid development has raised concerns among local communities. In an interview with the Times of Central Asia, Albina Alimova, a tour guide from Karakol, criticized the city’s master plan for ignoring input from the tourism sector, despite tourism being a key regional revenue source. She warned that unchecked construction was compromising the city’s historical character. “New buildings are blocking historic sites and views. Karakol has streets with late 19th-century stonework, old merchant houses, and a museum. We take tourists there, in part for the mountain views. But all of this is gradually being built up, and the city's former appearance may be lost,” she said. Similar concerns have emerged in Bishkek, where city authorities are preparing a renovation program that would replace older buildings with high-rise developments. Residents say the city’s growing density has disrupted natural wind patterns and worsened environmental conditions. The capital’s master plan, developed with input from St. Petersburg-based urban planners, also flagged excessive building density in some districts as a key issue.

Architecture

Almaty’s “Tselinny” Cultural Center Featured on Cover of Architectural Record

Kazakhstan’s architectural and cultural landscape has gained rare international recognition: Almaty’s Center for Contemporary Culture “Tselinny” has been featured on the cover of Architectural Record, the world’s oldest architectural magazine, published in the United States since 1891. International Recognition In its latest issue, journalist Andrew Ayers, who visited Almaty for Tselinny’s opening, described the project as “a new face for a former Soviet cinema” and “a gesture of reinterpreting Kazakhstan’s colonial past.” The article emphasized that the design team prioritized local context, with all work carried out by Kazakhstani contractors and interior contributions from young Almaty-based architects. [caption id="attachment_36890" align="aligncenter" width="351"] @Laurian Ghinițoiu[/caption] “Unlike many new museums, the architecture of the center sought to remain rooted in the local context,” the piece noted. Beyond its architectural merits, Architectural Record highlighted Tselinny’s institutional role, describing it as a platform for bolstering Kazakhstan’s still “fragile contemporary art scene.” The cover photograph was taken by Romanian photographer Laurian Ghinitoiu, renowned for his documentation of global architectural landmarks. History of the Building The center officially reopened in September 2025 following a seven-year reconstruction process that weathered both the COVID-19 pandemic and the legal troubles of its principal investor, businessman Kairat Boranbayev. Originally built in 1964 as the Tselinny cinema, the building underwent several renovations during the 1990s and early 2000s. A major overhaul in 2000 saw the main cinema hall divided, the foyer reconfigured, and a celebrated sgraffito mural by artist Yevgeny Sidorkin concealed behind plasterboard. [caption id="attachment_36892" align="aligncenter" width="353"] @Laurian Ghinițoiu[/caption] Boranbayev acquired the building in 2016. Four years later, a comprehensive reconstruction led by British architect Asif Khan began. The project restored the foyer’s original dimensions, revealed Sidorkin’s mural, though now in subdued tones, and transformed the cinema hall into a flexible space for exhibitions and screenings. Today, Tselinny includes a library, café, and workshop spaces. Notably, the reopening ceremony was led by Amantai Kusainbay, who has worked at the site since 1999 and continues to manage its daily operations.

Architecture

In a New Light: Kazakhstan’s Evolving Relationship with Design and Atmosphere

For much of its recent history, Kazakhstan’s image has been shaped by the discourse of natural resource extraction — oil, gas, metals, the infrastructure to transport them, and the political influence they provide. But, a quiet transformation of its public and private spaces is underway, one not measured in barrels, commodity prices, or contracts, but by lighting or lights, which means ambience, illumination, aesthetics, and the atmosphere of lived space. Lighting, of all things, is central to human existence and part of its development story. It may seem peripheral, but in architecture, lighting is never neutral. It guides, reveals, softens, and dramatizes space. It also mirrors taste, cultural aspirations, and society’s choices. [caption id="attachment_34248" align="aligncenter" width="1200"] Astana Opera; image: Dilyara Abdirakhmanova[/caption] Light is the Language of Architecture and Space Some of Kazakhstan’s most emblematic public buildings already utilize the optimal use of lighting. The Astana Opera, for example, with its marble staircases and opulent chandeliers, is illuminated to bring out its grandeur and high culture. Its stage is masterfully lit so that musicians are inspired to give their best performances. Likewise, the Palace of Peace and Reconciliation, a crystalline pyramid designed by Foster + Partners, plays with transparency and glow, its stained-glass summit flickering between monument and mirage, giving voice to the need for peace in our time. Then there’s the Khan Shatyr Entertainment Center — part shopping mall, part climate-controlled urban experiment — which glows at night through its tensile skin - representing a range of civic and family-friendly amenities offering a comfortable and eye-pleasing microclimate for all. And then there’s the Hazrat Sultan Mosque, designed and lit for reverence and reflection. Daylight barrels through high arches; at dusk, soft interior light catches the tracery of Quranic calligraphy, domes, and minarets. The lighting is generous but subtle, quiet, and precise. In each of these cases, light isn’t an afterthought. It reaches out to the subconscious and makes daily human activity more pleasant. [caption id="attachment_34249" align="aligncenter" width="2000"] The Palace of Peace and Reconciliation; image: Foster + Partners[/caption] A Gap in Everyday Life Until recently, there has been little discussion in Central Asia about the link between lighting and its impact on the human person. Walking through many apartment buildings, offices, restaurants, and public lobbies, the atmosphere is flat, cold, and covered in uninspiring glare, often overpowering and at times blinding. These spaces may function, but they don’t resonate and are often uninviting. This state of affairs – the depressing nature of fluorescent grids – in the world of lighting is beginning to change, slowly, and unevenly. This shift towards ‘more welcoming’ lighting isn’t being driven by architects alone, or even by design schools. Demand comes from developers, hoteliers, homeowners, and restaurateurs who want to serve their clients better in an increasingly competitive environment. In this more mobile and inquisitive world, people want lighting that feels and works better for clients, employees, and oneself. A Market Beginning to Notice Enter enterprises like iSquare, a recently launched lighting design firm in Almaty. Its operating...

City Planning

Shopping Center May Be Built Beneath Bishkek’s Ala-Too Square

Bishkek authorities are moving forward with plans to reconstruct the Manas monument and the underground space beneath it in Ala-Too Square, the capital’s central public space. According to the Bishkek Mayor’s Office, the 1,500-square-meter area beneath the monument is currently unused. According to tender documents published on the government procurement website, the basement beneath Ala-Too Square is set to be redeveloped into retail space. The estimated cost of the reconstruction project is KGS 1.8 million ($20,600). “We want to renovate the basement area - it has been in a dilapidated state since 1983 due to lack of maintenance. As for the future, we are considering various possibilities for the space. However, it is important to clarify that the Manas monument will not be removed,” Bishkek Mayor’s Office spokeswoman Nazgul Zhamgyrchieva told reporters. Despite this reassurance, some Bishkek residents remain concerned, particularly since the Manas monument has already been removed from its pedestal as part of the reconstruction. Many fear it may not be returned to its original place. The monument to Manas, a symbol of Kyrgyzstan’s national heritage, has stood in Ala-Too Square since 2011. Alongside the White House, the National Historical Museum, and the national flag, it forms part of Bishkek’s so-called "marble center", a key landmark in the capital.

Cultural Heritage

19th-Century Historic Building Under Demolition in Turkmenistan

The demolition of a 19th-century historic building, formerly the History and Local History Museum and originally a Shiite mosque named after Haji Myalik, has begun in the city of Turkmenabat. Constructed in the 19th century, this architectural landmark was a vital part of Turkmenabat's cultural heritage for decades. The building served as a museum starting in 1967, but in 2011, after more than 40 years, its exhibitions were relocated to a new facility built specifically for that purpose. Despite the building’s historical significance, local authorities opted against restoration or handing it over to the Muftiyat (the official Islamic authority) and instead decided to demolish it. A Unique Architectural Legacy The architectural design of the former Haji Myalik Mosque was distinctive and highly regarded in the region. Tourist guides described it as one of Turkmenabat's most striking landmarks. The facade featured intricate brickwork, three semicircular arches, a prominent high portal, and two small towers capped with pointed domes in Ottoman architectural style. On the right side of the facade stood a minaret with a metal dome, once the tallest vantage point in Chardjui (the historic name of Turkmenabat). Today, this iconic structure is being dismantled piece by piece. The roof has already been removed, and the demolition process is ongoing. A Worrying Trend The demolition of historic buildings in Turkmenistan is not a new phenomenon and has raised alarm among residents and cultural heritage experts. In Ashgabat, the capital, numerous old buildings of historical and cultural importance have been destroyed over the years. Notable examples include the buildings of Karakumstroy, Hotel Turkmenistan, the Turkmenhovayollary Department, and the public garden featuring a monument to N. Aitakov. [caption id="attachment_27727" align="aligncenter" width="2560"] Ashgabat- A row of marble towers in Berzengi; image: TCA, Stephen M. Bland[/caption] A moderately young metropolis, its appellation meaning "City of Love" in Persian, Ashgabat developed around a Russian garrison during the 1880s. Leveled in the earthquake of 1948, prefab Soviet blocks soon sprung from the debris. Shaping his vision, former President Niyazov had these kommunalkas torn down and replaced by boxy, flat-topped marble towers with dazzling, reflective windows. Largely of a uniform eleven storys, their showy ostentation lacks any semblance of functionality, with endless ministry buildings standing unoccupied, overpriced residential blocks home to the affluent few. In 2021, authorities began demolishing four-story residential buildings at the intersection of Turkmenbashi and Atamurat Niyazov avenues, a move that drew criticism from citizens. Experts warn that such actions could result in the irreversible loss of the country’s unique architectural heritage. As the dismantling of the former Haji Myalik Mosque continues, concerns grow about the preservation of Turkmenistan's historic and cultural landmarks, many of which are disappearing under the pressure of modernization.

Cultural Heritage

Tashkent Announces International Contest to Design New Entrance Gates

The city authority (hokimiyat) of Tashkent has announced the start of an international competition to develop a sketch concept for four entrance gates to the capital of Uzbekistan. The new gates will be created at the Rohat, Bektemir, Erkin, and Uchkahramon posts. The project should embody modern and traditional ideas, with construction planned to begin by the end of this year. The competition is open to both Uzbek and international participants, and those wishing to participate can submit their works individually or in teams. The three best works will receive cash prizes from 30 to 100 million UZS ($2,350 to $7,800). The winner will be announced on November 30. Until the 19th century, Tashkent was surrounded by a mighty fortress wall divided by 12 gates. At first, the fortress of Binkenta (the former name of Tashkent) had seven gates, but with the city's expansion by 1864, their number reached 12. Since the shape of the city wall coincided with the system of stars, the gates were built according to the location of 12 stars of the Zodiac according to the cycle of Muchal. Thus, 12 gates were the earthly reflection of heavenly luminaries. Tashkent was the only city in the world with such celestial gates. These gates were destroyed, and the fortress wall was demolished in the late 19th century. But in recent years, there have been repeated ideas to restore part of the entrance gates. In June 2022, the Tashkent hokimiyat presented the first sketches for the fortress gates.