Architecture - The Times Of Central Asia

Viewing results 1 - 6 of 12

opinion

Uzbekistan’s Heritage Did Not Stop With the Silk Road

When people think of Uzbekistan’s architectural heritage, the images are familiar: the turquoise domes of Samarkand, the madrasas of Bukhara, Khiva’s walled city, and the monuments of Shakhrisabz. But Uzbekistan’s history did not stop with the Silk Road. At its 48th session in July, UNESCO inscribed “Tashkent Modernist Architecture. Modernity and Tradition in Central Asia” on the World Heritage List. The new site brings together ten buildings and urban complexes constructed between the 1960s and the early 1990s, during the period in which Tashkent was dramatically rebuilt following the 1966 earthquake. The inscription deserves to be celebrated. More importantly, it expands the definition of what Uzbek heritage can be. [caption id="attachment_52926" align="aligncenter" width="1774"] Kosmonavtlar Metro Station, Tashkent; photo: Mathieu Lemoine[/caption] These buildings do not belong to the world of caravanserais and Timurid courts. They represent another layer of the country’s history: the ambitious and highly creative transformation of Soviet-era Tashkent. For decades, Central Asian heritage has often been viewed through a chronological hierarchy. The older a monument, the easier it is to recognize as heritage. Timurid architecture is obviously precious. A concrete building from the 1970s can appear more expendable. Tashkent shows why that distinction is too simple. UNESCO notes that the architecture developed after the earthquake combined industrialized construction and seismic engineering with local climatic, cultural and material conditions. The result was not simply Soviet modernism transplanted to Central Asia, but a distinct architectural language adapted to Tashkent. This broader understanding of heritage comes at an important moment. Uzbekistan is modernizing rapidly. Its cities are growing, tourism is expanding, infrastructure is improving and redevelopment is transforming urban space. Much of this change is necessary and welcome. Historic neighborhoods cannot be expected to function as open-air museums. Residents need reliable drinking water, sewage systems, heating, electricity, internet access, waste collection, accessibility, safe streets and comfortable housing. A leaking pipe is not “authenticity.” The more difficult question is how modernization takes place. [caption id="attachment_52925" align="aligncenter" width="1774"] Tashkent Modernist State Museum of History; photo: Mathieu Lemoine[/caption] Uzbekistan has already experienced how delicate that balance can be. In Shakhrisabz, large-scale redevelopment substantially altered the historic urban fabric. The historic center was placed on UNESCO’s List of World Heritage in Danger in 2016 and remains there today. The experience offers an important lesson: preserving monuments is not necessarily the same as preserving a city. A city can retain its most famous madrasa, mosque or mausoleum while losing part of its heritage if the streets, neighborhoods, businesses and communities surrounding them disappear. The pressure is not only architectural. As tourism grows and historic centers become more desirable, economic incentives change. Houses can become hotels and restaurants. Businesses serving residents can give way to businesses serving visitors. Traditional workshops can struggle with higher costs. Redevelopment can create pressure on residents to relocate. Bukhara illustrates why this is important. Its identity rests not only on monumental architecture but on a living economy of craftsmanship. Gold embroidery, ceramics, jewelry, woodwork and other trades remain sources of employment as well as cultural identity....

Architecture

Opinion: Beyond Ornaments – Rethinking Kazakhstan’s Architectural Identity

Walking into the Flower of God Mosque in Astana, I was struck not by its grand domes or elaborate decoration, but by the experience of the space itself. Light filtered through the structure in unexpected ways, the interior unfolded gradually, and the building created a sense of calm. It made me wonder: can architecture express cultural meaning without directly reproducing traditional architectural symbols? This question is becoming increasingly important for Kazakhstan. Over the past two decades, the country has transformed its urban landscape through ambitious construction projects. New airports, museums, universities, financial centers, and religious buildings have reshaped cities, particularly Astana. As Kazakhstan seeks to position itself as a modern state connecting Europe and Asia, architecture has become one of the most visible expressions of national identity. Yet a fundamental challenge remains unresolved: how can architecture be modern while also expressing what it means to be Kazakh? National ornaments appear on glass facades and stylized references to the yurt shape public buildings. While these references are familiar and visually recognizable, they do not necessarily create meaningful architecture. Cultural identity cannot simply be attached to a building like decoration. This approach reflects what architects often describe as direct design: the use of recognizable forms and symbols to communicate meaning. Domes, arches, ornaments, and historical references immediately signal cultural identity because they are easy to recognize. Such architecture can create a strong visual connection to heritage, but relying solely on symbolism risks becoming superficial. An alternative approach focuses not on reproducing historical forms but on interpreting the values behind them. Instead of asking how a building should look, architects ask how it should feel. Meaning emerges through light, space, movement, and human experience. Astana's architectural landscape offers several examples of how national identity has been translated into built form. The Baiterek Monument offers perhaps the clearest example of symbolic architecture in Kazakhstan. Drawing on the legend of the Tree of Life and the Samruk bird, it transforms a national myth into a physical structure that is immediately recognizable. Its meaning is communicated directly through form and narrative, making it one of the country's most powerful architectural symbols. [caption id="attachment_50124" align="aligncenter" width="2560"] Baiterek, Astana; image: TCA[/caption] Yet the monument also raises an important question. While visitors can easily recognize the symbolism, do they experience the myth itself? Does the ascent through the tower evoke the journey up the Tree of Life, or does the golden sphere create the sensation of entering the sacred egg of the Samruk bird? The symbolism is clearly represented, but the extent to which it is translated into a spatial experience remains open to interpretation. Khan Shatyr occupies a unique place in Kazakhstan's architectural landscape. Its tent-like form directly references the nomadic heritage of the steppe, making it one of the country's most recognizable cultural symbols. Yet the project also raises an important question: is reproducing a familiar image enough to convey a cultural experience? [caption id="attachment_50122" align="aligncenter" width="1280"] Khan Shatyr, Astana; image: Bgag[/caption] Despite its obvious reference to...

Milan Design Week

Uzbekistan’s ‘When Apricots Blossom’ Shortlisted for Fuorisalone Award at Milan Design Week

Uzbekistan’s first national exhibition at Milan Design Week 2026 has closed with strong international recognition, drawing large crowds and earning praise from critics for its focus on culture, craft, and environmental change. Titled When Apricots Blossom, the exhibition ran from April 20 to 26 at Palazzo Citterio, welcoming around 25,000 visitors over seven days. Organized by the Uzbekistan Art and Culture Development Foundation (ACDF), the project was commissioned by its chairperson Gayane Umerova and curated by architect Kulapat Yantrasast, founder of WHY Architecture. The exhibition was shortlisted for the main Fuorisalone Award, which recognizes leading installations among the thousands of events held across Milan during the week. It also received a Special Mention from a panel of media partners and critics. The jury praised the project for creating “a dialogue between the space and the content” and for encouraging deeper engagement with its themes. Uzbekistan’s debut comes at a time when design is increasingly addressing global challenges, including climate change and sustainability. In this context, When Apricots Blossom stood out for its focus on the Aral Sea region, one of the world’s most widely recognized environmental disasters. [caption id="attachment_47943" align="aligncenter" width="451"] Cooking demonstration led by Bayrangul. Still from the film Where the Water Ends by Manuel Correa and Marina Otero 2026. Courtesy of ACDF[/caption] Over the past six decades, the Aral Sea has largely disappeared, reshaping life in Karakalpakstan, an autonomous region in northwestern Uzbekistan. The exhibition explored how communities in the area have adapted to these changes, not only through new solutions but also through long-standing traditions. Rather than presenting craft as something of the past, the project framed it as a form of living knowledge. “Our intention was for the Aral Sea to be recognized not only as a site of loss, but as a lens through which design considers broader questions of climate, culture, and responsibility,” Umerova said. She emphasized that collaboration played a key role in the exhibition. Designers from different countries worked alongside Uzbek and Karakalpak artisans, creating a space for exchange between tradition and contemporary practice. “The knowledge exchange between our craftspeople and international designers has helped reconnect past, present, and future,” she said. Inside Palazzo Citterio, visitors moved through installations centered on three fundamental aspects of life: food, shelter, and clothing. These were represented through bread-making, yurt-building, and textile weaving, practices that have helped communities adapt to changing environments. Twelve designers created new works inspired by these traditions, including bread trays and stamps used in the preparation of non, a staple of Uzbek cuisine. Made from materials such as wood, ceramics, felt, and reeds, the objects reflected both local resources and evolving design approaches. The exhibition also included artifacts selected by participants of the Aral School, an international educational program focused on the region through design and research. A film, Where the Water Ends, offered visitors a closer look at the lives and landscapes shaped by the disappearance of the sea. For Yantrasast, the project marks the beginning of a longer process. “This...

Art and Culture

Life After the Water: Uzbekistan Brings the Aral Sea Story to Milan

Uzbekistan made its debut at Milan Design Week 2026 on April 20, with When Apricots Blossom, an immersive exhibition at Palazzo Citterio exploring how craft and design can respond to environmental crisis. Running through April 26, the project is organized by the Uzbekistan Art and Culture Development Foundation (ACDF), commissioned by its chairperson, Gayane Umerova, and curated by Kulapat Yantrasast, founder of WHY Architecture. It marks the country’s first major presentation at one of the world’s leading design platforms. At the center of the project is Karakalpakstan, a region in northwestern Uzbekistan that has experienced one of the world’s most severe environmental crises. Over the past six decades, the shrinking of the Aral Sea has transformed the area’s landscape, economy, and way of life. Once a vast inland body of water, the sea has largely disappeared, leaving behind desert, salt plains, and struggling communities. [caption id="attachment_47478" align="aligncenter" width="926"] The Garden Pavilion at Palazzo Citterio, indicative render: Lightweight latticed framework ‘deconstructed yurt’ by Kulapat Yantrasast. When Apricots Blossom, Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] When Apricots Blossom traces this transformation while also looking ahead. “The Aral Sea is both a cautionary tale and an opportunity to offer a blueprint for other regions facing extreme environmental change,” Umerova said ahead of the opening. She emphasized that design and craft are not separate from these challenges, but part of the response. “They begin with people and knowledge.” Inside Palazzo Citterio, the exhibition unfolds as a journey through the region’s past, present, and possible futures. The main gallery features an installation of reed-like structures that evoke the landscapes of Karakalpakstan. Within this setting, visitors encounter objects and ideas connecting everyday life with broader environmental questions. A key focus is on three traditional practices: bread-making, yurt-building, and textile crafts. These are presented not as relics of the past, but as systems of knowledge shaped by generations of adaptation. [caption id="attachment_47534" align="aligncenter" width="8192"] Bethan Laura Wood at Palazzo Citterio - When Apricots Blossom - commissioned by ACDF. Image courtesy of ACDF[/caption] Twelve international designers have worked with Uzbek and Karakalpak artisans to create new pieces inspired by these traditions. Among them are custom bread trays and stamps (chekich), reflecting the central role of bread in Uzbek culture. Made from materials such as wood, felt, ceramics, and reeds, the works reinterpret familiar forms while remaining rooted in local techniques. Alongside these contemporary designs are artifacts selected by participants of the Aral School, an international postgraduate program that treats the region as a site for creative and critical exploration. The exhibition also premieres Where the Water Ends, a new film by filmmaker Manuel Correa and architect Marina Otero Verzier, offering a closer look at landscapes and communities shaped by the Aral Sea’s decline. [caption id="attachment_47480" align="aligncenter" width="976"] The main gallery interior, indicative render: Reed-link forms by WHY Architecture. When Apricots Blossom - Milan Design Week 2026. Courtesy of ACDF and WHY Architecture[/caption] Together, these elements form a broader narrative about how people adapt to...

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.