Heritage

Located on the plateau of the Giza Necropolis, the project is nestled in the village of Nazlet El Samman. This ancient site was founded in the 7th century by desert tribes fascinated by the Pyramids; the village is a preserved site, a whole journey through time, and the common transport is still horse or camel ride. Restoring this village creates a bulwark against the massive tourist influx and the real estate speculations that generate tabula rasa in these historical districts. The Cheops Observatory is also an artist’s residence, a gateway at the entrance of the desert, an inhabited belvedere at a walking distance of the largest of the pyramids of the Giza plateau.

Liangzhu Heritage site has successfully made into the World Cultural Heritage list on July the 6^th,2019. During the extensive qualification process, the post in-depth research capability as an important criterion has risen the standards of correspondent modern facilities as a solid platform. Renovating the existing industrial facilities in the core of the site has not only the benefit of compressing the construction time to meet investigation schedules for the World Heritage List application, but also providing a solution for the project to site as close to the core as possible without potential massive soil excavation. The site, Zhonglian Huaneng is located south to Mojiaoshan Palace ruins, adjacent to the south entrance of the Heritage Reserve and Liangzhu museum. They will serve as an on-site workstation which thrives to witness and participate in the coming excavation and research.

In conjunction with the peace agreement between the Colombian government and the FARC guerrillas, it was agreed on to construct three monuments with the weapons and supplies of the war, one in the United Nations, another in Havana and one in Bogotá. The artist Doris Salcedo, who was commissioned for the work in Bogota, decided that a counter-monument, rather than a monument, should be built with the 37 tons of weapons deposed by the more than 13,000 ex-combatants. The sculptural work in question opposed the idea of glorifying violence and monumentalizing weapons and chose to create a floor that today functions as the physical and conceptual basis of this unbiased place that reverses the power relation created by the rifles.