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UNESCO World Heritage List

Two Architectural Monuments from Kazakhstan Included in UNESCO’s Tentative World Heritage List

Two landmark architectural monuments in Kazakhstan, the Zharkent Mosque and the Ascension Cathedral, have been added to UNESCO’s Tentative List of World Heritage Sites. The announcement was made by State Counselor of Kazakhstan Erlan Karin. Inclusion on the Tentative List is a mandatory preliminary step before a site can be formally nominated for inscription on the UNESCO World Heritage List. Only properties included in the Tentative List may proceed to the full nomination process. The Zharkent Mosque is located in the city of Zharkent in the Zhetysu region. Built in 1895 to the designs of Chinese architect Hong Pique, the structure was constructed without the use of nails. It represents a distinctive synthesis of Islamic architectural principles and East Asian design traditions, including elements commonly associated with Buddhist temples. This architectural fusion reflects the historical cultural exchanges among the peoples of the region and the cross-border influence of architectural schools. Since 1982, the mosque has been under state protection as a monument of architectural and historical significance at the national level. The Ascension Cathedral, situated in Almaty’s Park of the 28 Panfilov Guardsmen, was constructed between 1904 and 1907 as the cathedral of the Turkestan diocese of the Russian Orthodox Church. Rising to a height of 54 meters, it is considered one of the tallest wooden Orthodox churches in the world. Built from Tien Shan spruce, the cathedral’s wooden framework, reinforced with metal fastenings, allowed it to withstand several major earthquakes. Today, it is listed as a historical and cultural monument of Kazakhstan. According to Karin, the inclusion of both the mosque and the cathedral on the Tentative List marks an important step toward preserving and promoting the country’s cultural heritage. If the nomination process is successfully completed, the sites could obtain full World Heritage status, granting them enhanced international recognition and protection, as well as potentially increasing tourism. The joint nomination of Islamic and Orthodox religious monuments also underscores Kazakhstan’s cultural and religious diversity and reflects the historical coexistence of different faith traditions in the region. Previously, The Times of Central Asia reported that an updated UN Action Plan for the Protection of Religious Sites Worldwide was presented in Astana during the Congress of Leaders of World and Traditional Religions.

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.