Culture | Public Affairs | Business
Photo: CFCUN Official
QARABAG FK BRAVELY BATTLES AGAINST MIGHTY CHELSEA AT STAMFORD BRIDGE Also in this issue: Musical remembrance of Qubadli brought to the Armenian Embassy steps Karabakh-Collection featured in British Vogue Franghiz Ali-Zadeh celebrated in Monet’s magical environment Asmar Narimanbekova – a uniquely expressive voice in art Tural Aliyev – retrofitting Baku?
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Welcome to the TEAS Magazine The European Azerbaijan Society (TEAS) is a UK-registered pan-European foundation dedicated to raising awareness of Azerbaijan and fostering closer economic, political and cultural links between that country and the nations of Europe. As well as promoting the positive aspects of Azerbaijan, TEAS also highlights the plight of the 875,000 refugees and Internally Displaced Persons (IDPs) within the country. These people are unable to return to their homes and lands because of the illegal occupation of Nagorno-Karabakh and seven surrounding districts by Armenia’s armed forces – in defiance of four UN Security Council resolutions. TEAS has three main facets to its operations: • Culture – TEAS raises awareness of Azerbaijan’s rich and vibrant culture to a worldwide audience by organising cultural events and operating as a networking centre. • Business – TEAS supports its membership of European and Azerbaijani businesses. It provides a platform for organisations to establish links and strengthen their existing business relationships via a programme of networking opportunities across the regions. • Public Affairs – TEAS works to increase awareness about Azerbaijan amongst key opinionformers, key decision-makers and other political, academic and civil society stakeholders. In pursuit of its objectives TEAS: • Organises meetings with interested parties, opinion-formers and decision-makers • Arranges roundtables, seminars, lectures and conferences • Publishes pamphlets, reports, bulletins, books and produces films • Facilitates fact-finding trips by politicians and business people.
The TEAS Facebook page is your chance to learn about the latest news, events, campaigns and other Azerbaijan-related items. Visit and ‘like’ our page at: http://bit.ly/TEASFB.
Membership and Sponsorship TEAS offers a range of corporate and individual membership packages, providing such benefits as advertising, trade missions, networking, business sector advice and hotel discounts.
TEAS also offers numerous sponsorship opportunities throughout the year for its events and conferences. To find out more, e-mail: membership@ teas.eu.
Win £100 of Amazon vouchers!
Firstly, our congratulations go to Aysel Naibova, Risk Analyst, State Oil Fund of the Azerbaijani Republic (SOFAZ), who is the winner of the competition in the August 2017 edition. To stand a chance of winning £100 of Amazon vouchers, simply answer the following five questions, the answers to which will be found in this issue of the magazine. In the case of a tie, a draw will be made. Previous winners are ineligible to enter, as are TEAS employees and their families. Please send all entries to editor@teas.eu by 17.00hrs (GMT) on 9 October: 1. 2. 3. 4. 5.
ho is the outgoing editor of British Vogue? W W ho is the coach for Qarabag FK? W hat bonus will be awarded to Azerbaijan by the BP-led AIOC for the Azeri-Chirag-Guneshli (ACG) oilfield extension contract to 2050? C an you name one of the compositions by Franghiz Ali-Zadeh performed at the Festival Musique de Chambre à Giverny? W hich encore, written by Farhad Badalbeyli, was performed by pianist Saida Zulfugarova at the Vent d’Est festival in La Rosière, France?
From the TEAS Director
During the past few weeks the excitement has been palpable in the TEAS office since Qarabag FK was drawn in the UEFA Champions’ League against Premiership champions Chelsea, playing at the legendary Stamford Bridge stadium. The story of Qarabag FK is inextricably intertwined with the unresolved Armenian–Azerbaijani conflict over Nagorno-Karabakh. Following the occupation of Aghdam in 1993, this has been the team destined to always ‘play away from home’, and although they may have different team affiliations for home games, all Azerbaijanis support Qarabag FK in the international arena. The painful story of Qarabag FK and how it has triumphed in the face of adversity was covered extensively in the UK and international media, and TEAS and its friends made their own protest by wearing
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T-shirts at the match bearing the slogan Armenia out of Karabakh (anglicised spelling). The result was a comprehensive win for Chelsea, but for a small IDP team to reach this level is the stuff of legends. The month also saw a mysterious blackshrouded violinist perform Sari Gelin on the steps of the Armenian Embassy in memory of the 24 th anniversary of the Armenian occupation of Qubadli. In addition there was an extension of the BP-led AIOC Consortium agreement on the AGC oilfield, which extends the contract up until 2050. Finally there was a celebration of Franghiz Ali-Zadeh’s music at the Festival Musique de Chambre à Giverny, her participation being facilitated by TEAS France. Lionel Zetter Director, TEAS
Lionel Zetter, Director, TEAS
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Politics and News
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Poignant peaceful protest infuriates Armenians Rising above the hubbub of the London streets, the timbre of the violin soared like the sound of a human voice at the touch of the deft fingers of a mysterious musician. The dark gloomy skies and spatters of rain were a fitting backdrop to this sombre event. Shrouded in black, to signify mourning, the soloist played the melancholy melodies of her homeland – Azerbaijan – in commemoration of the district of Qubadli. This fell under Armenian occupation 24 years ago on 31 August 1993, during the invasion of Nagorno-Karabakh and the seven surrounding regions. Despite the right to peacefully demonstrate on the streets of London being enshrined in UK law, one Armenian diplomat emerged from inside the Embassy and objected noisily – at one stage even reaching out as though to grab the violin. After Jack Pegoraro, Head, TEAS London, explained about the remembrance, the Armenian diplomat disputed the occupation of Azerbaijani territory by the armed forces of his country and carried out his threat to call the police. The policeman who responded to the complaint understood the nature of the demonstration, replying: “This is the UK – you have a perfect right to a peaceful protest.” Recognised for its mysterious mountainous beauty and rich range of flora and fauna, Qubadli witnessed the deaths of 238 Azerbaijanis in the fighting. Over the following five years, 146 others died from injuries sustained during the assault. Many unaccounted deaths occurred when civilians attempted to swim their way to safety under Armenian fire across the Hekeri River, having not been permitted a free corridor for escape – such a policy being reminiscent of the massacre at Khojaly, just over one year earlier, which claimed the lives of 613 civilians in one dreadful night.
The mystery violinist and Jack Pegoraro, Head, TEAS London, courageously attempt to explain the realities of the Qubadli occupation to an Armenian diplomat
from Qubadli, in addition to the districts of Fizuli and Jabrayil. This was one of four resolutions that have remained unimplemented for over 20 years. Jack Pegoraro commented: “The significance of today’s protest is to mark the 24th anniversary of the occupation of the Azerbaijani region of Qubadli. The veiled woman in black playing Bayati Shiraz and Sari Gelin symbolises the loss of the local Azerbaijani population who were either killed or forced to flee their homes. We are here in front of the Embassy to remind the Armenians that Azerbaijan will never forget until Nagorno-Karabakh and the surrounding occupied territories are returned to Azerbaijan.” Poet Charles Baudelaire once wrote: “The violin quivers like a tormented heart.” As the violin sounded outside the Armenian Embassy, the hearts of onlookers and listeners remembered the tragedy of Qubadli; the men, women and children who lost their lives; those who never saw their homes again; and those for whom Qubadli is but a distant, beautiful memory.
This invasion led the 31,364 residents of Qubadli to become internally displaced persons (IDPs), joining almost one million compatriots in encampments spread across Azerbaijan. Nearly 7000 private houses were destroyed as part of the Armenian ‘scorched earth’ policy, which attempted to ensure that Azerbaijanis could not return home, other casualties being numerous monuments, bridges and tombs, some of which dated back to the 4th–5th centuries. On 14 October 1993, the UN Security Council passed resolution 874, which called for the immediate withdrawal of Armenian troops
A mournful serenade of Azerbaijani folk music brought the occupation to the very steps of the Armenian Embassy in London
Karabakh-Collection designer Mergen featured in British Vogue
Berlin-based Leonie Mergen is one of the foremost rising German designers. Having studied at the International University of Art in Berlin and interned at such highend houses as Patrick Hellmann in Berlin, her fashion features a rich and inspired mélange of the traditional and the avantgarde, all executed with European finesse. Earlier this year, her A/W 2017 range was unveiled to an expectant public – firstly at the Mercedes-Benz Fashion Week in Berlin, then at London Fashion Week, where it stimulated an interest from the fashion media. Entitled the Karabakh-Collection, the range takes its point of departure from the Azerbaijani Karabakh region, an area of the country that is synonymous
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with Azerbaijani culture and artisanship, yet has remained under illegal Armenian occupation for a quarter of a century.
The success of the collection has now resulted in Leonie being featured in the Designer Profile section of the September edition of British Vogue. This comments on her background and features one of the most stunning looks from the KarabakhCollection, exquisitely executed in delicate silk, and follows the hosting of footage from the London runway on the magazine website. This edition of British Vogue is particularly important, as this is the final edition to be edited by Alexandra Shulman, the editor
for 25 years. With an estimated circulation of 22,000 and one million readers, 85 per cent of British Vogue readers agree that: “Vogue is the Fashion Bible.” See www. leoniemergen.com for more information and to see the Karabakh-Collection.
Dentons alert on unemployment insurance Dentons – a TEAS member company – has issued a client alert relating to the new Law on Unemployment Insurance, the purpose of which is to compensate for the lost salaries of insured persons and to reduce unemployment. Go to http://bit.ly/ dentonsunemployment to access the alert.
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Politics and News
Qarabag brings the realities of occupation to Chelsea’s ground As many are aware, Qarabag FK is the ‘team that always plays away from home’. Located in Aghdam, the home ground came under fire from Armenian invading forces in 1993 as they occupied Nagorno-Karabakh and the seven surrounding regions. Chief coach Allahverdi Bagirov was killed by a landmine, and the whole team eventually decamped to the Azerbaijani national stadium, named after Tofig Bahramov, the so-called ‘Russian linesman’, whose decision to award a goal to the England team during the 1966 World Cup Final resulted in the historic win over West Germany. The match also saw a group of Azerbaijanis and local supporters of Azerbaijan don T-Shirts spelling out the phrase ‘Armenia out of Karabakh’. 23 fans lined up with a letter on each T-Shirt to spell out the defiant phrase. Affectionately named ‘The Horsemen’ after the eponymously-named Karabakh Horse – a small, sturdy, golden-haired beast frequently used in the Azerbaijani game of chovgan, an antecedent of polo – the Qarabag FK team have gone from strength-to-strength in footballing terms. Following impressive performances in the UEFA Champions’ League against fellow Caucasian team Samtredia (Georgia; winning 6–0 on aggregate), Sheriff (Moldova; winning 2–1 on aggregate), København (Denmark; 2–2 on aggregate, winning on away goals), the ‘Horsemen’ travelled to London to battle against Antonio Conte’s ‘The Blues’ – current champions of the English Premier League and winner of the UEFA Champions’ League in 2012. This historic match left Qarabag FK unphased, with manager Gurban Gurbanov in combative mood saying: “We’re not scared of any of them. They have one of the best coaches in Europe and they have some of the best players in Europe. Even though Chelsea is an icon in the Champions’ League, and has a great chance to win this season, the team is ready and we’re going to play until the end.
Qarabag FK is synonymous with the Armenian occupation of Azerbaijani territory
“We know Chelsea are going to make us become defensive, but that doesn’t mean we’re going to spend 90 minutes in defence. We’re going to attack as well.” The team always fields a minimum of five Azerbaijani players. Despite playing in 4–5–1 formation, not enough players were thrown forward. Qarabag FK bravely strived to play a passing game, but they proved unable to outpass Chelsea, and some misjudged attempts to score sailed over the net. Qarabag – who demonstrated great bravery in the face of adversity – are no strangers to the illustrious world of UK football. They battled Celtic and Tottenham Hotspur in 2015, and their 2–1 defeat against København was their first defeat in 20 matches.
The significance of the match – and message to Armenia – was clear (Photos: Taz Rahman)
Azerbaijan to get bonus of $3.6bn from BP-led group on ACG extension According to Azerbaijani President Ilham Aliyev, the Azerbaijani government will receive a one-off bonus of $3.6bn (£2.7bn) on extending its contract to 2050 with the BP-led Azerbaijan International Operating Consortium (AIOC) to exploit the AzeriChirag-Guneshli (ACG) oilfield. Sir Alan Duncan, UK Minister for Europe, amongst others, attended the signing. President Aliyev revealed that the remaining ACG oil reserves
stand at 500m tonnes. The agreement will also see the State Oil Fund of the Azerbaijani Republic (SOCAR) more than double its share in a new production-sharing agreement (PSA) with BP, according to Khoshbakht Yusifzadeh, First Vice-President, SOCAR. This will see the SOCAR proportion increase from 11.65 per cent to 25 per cent. Consortium shareholders include BP, SOCAR, Chevron, Inpex, Statoil, ExxonMobil, Turkish Petroleum, Itochu and ONGC Videsh.
5.5 per cent investment expansion in 2017 Financial analysis company Standard & Poor’s has predicted that investments in the Azerbaijani economy will increase by 5.5 per cent in 2017, 3.5 per cent in 2018, 2.5 per cent in 2019 and 2.5 per cent in 2020. According to the agency, annual average inflation will drop to 9 per cent from 12.4
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per cent in 2016. Inflation will continue to reduce from 2018–20, reducing to 7 per cent in 2018–19 and 5 per cent in 2019–20. Standard and Poor’s has also predicted that Azerbaijani foreign trade turnover will result in a positive balance from 2017–20. This will equate to 12.3 per cent of GDP in
2017, 12.7 per cent in 2018, 14.3 per cent in 2019 and 14.8 per cent in 2020. The company has also forecast a GDP budget deficit of 3.2 per cent. However, the state budget is expected to return a surplus next year, equating to 1 per cent of GDP. In 2019–20, this should amount to 2.5 per cent of GDP.
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Politics and News
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Azerbaijani–Turkmen co-operation
According to an article on Eurasianet.org, Azerbaijan and Turkmenistan have declared themselves to be strategic partners as they work to co-operate on shipping energy to Europe whilst the issue over demarcation of the Caspian Sea remains unresolved. The issue was highlighted when Turkmen President Gurbanguly Berdymukhamedov met Azerbaijani President Ilham Aliyev in Baku. During two days of talks, the presidents discussed numerous key regional issues, including construction of the Baku–Tbilisi–Kars railroad, new ports on the Caspian Sea, and joint efforts to develop routes for transporting Caspian gas to European markets. The meeting culminated with the signing of a strategic partnership agreement, with President Ilham Aliyev declaring ties between the two states to be “at the very highest level”, agreeing on the necessity to “turn the Caspian space into a source of long-term stability in Eurasia, and an arena for wide international co-operation.” However, unresolved borders in the Caspian Sea, including the status of one hydrocarbon deposit – called Kyapaz in Azerbaijani and Serdar in Turkmen – are located on the contested border. According to Sergei Markedonov, Associate Professor, Russian State University for the Humanities, the two countries have sensed an opportunity to become “the West’s privileged partners in the Caspian” and the “oil and gas alternative to Moscow.” Turkmenistan has also faced a series of conflicts with Moscow over natural gas transit to Europe, particularly due to the fact that Gazprom makes a significant profit from reselling Turkmen gas to Europe. Disagreements over gas prices led Gazprom to halt the purchase of Turkmen gas in January 2016, leaving Ashgabat in urgent need of new partners. Furthermore, Turkmenistan aims to participate in the BP-led Southern Gas Corridor that runs from the Azerbaijani section of the Caspian Sea to Europe, one section of which is the long-discussed Trans-Caspian Gas Pipeline (TCGP), initially proposed in the 1990s.
Turkmen President Gurbanguly Berdymukhamedov and Azerbaijani President Ilham Aliyev discussed some current and future regional issues
Moody’s upgrades IBA ratings Moody’s has upgraded the rating of the International Bank of Azerbaijan (IBA) following a creditors’ agreement on its debt restructuring. This saw the long-term foreign- and local-currency deposit ratings for the IBA increase to Caa1 from Caa2 and the foreign-currency senior unsecured debt rating to Caa2 from Caa3. The Baseline Credit Assessment (BCA) was upgraded to Caa3 from Ca and the longterm counterparty risk assessment (CRA) to B3 from Caa1. In its statement, the agency attributed the new ratings to the result of voting on the
adoption of the restructuring plan. Changes in the ratings indicate that Moody’s regards the steps to improve the financial wellbeing of the IBA as positive. According to agency forecasts, implementation of the restructuring plan will strengthen financial stability, its capital position and improve the quality of IBA assets. In addition to restructuring external liabilities, the transference of the remaining distressed assets to AgrarCredit will also help improve the quality of bank assets by the end of 2017. The debt portfolio of the IBA will also improve significantly once the restructuring process is complete. By the end of 2018,
the IBA plans to demonstrate profits that, to a large extent, will also depend on the macroeconomic situation in the country. Moody’s assesses the likelihood of government support for IBA as ‘high’, due to a 95 per cent equity participation in the share capital, together with a significant portion of IBA assets in the local market. In addition, it was noted that the restructuring of external obligations of the IBA did not affect clients or deposit holders. The statement also indicates that, following the conclusion of the restructuring process, Moody’s will reconsider its IBA ratings positively.
Caspian Sea evaporating Water levels in the Caspian Sea – the largest lake on earth – have been gradually falling for the past 20 years. According to researchers, they have dropped by nearly 7cm per annum from 1996–2015, equating to 1.5m. The current sea level is only about 1m above the historic low it reached in the late 1970s. Increased evaporation of the Caspian
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Sea has been linked to greater surface air temperatures, attributed to climate change, and the decrease in water levels could threaten shallow spawning grounds for unique species. The Caspian Sea, which covers 371,000km 2, has experienced substantial changes in its water levels over the past
few centuries, but previous studies were unable to establish the exact cause. According to data from the study, published in Geophysical Research Letters, the average annual surface temperature over the Caspian Sea rose by an estimated 1°C between the two time-frames under analysis from 1979–95 and 1996–2015.
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Personalities – Asmar Narimanbekova Asmar Narimanbekova attends the opening of the Poetry in Colour exhibition in Vienna
Asmar Narimanbekova – keeping the muse alive Asmar Narimanbekova is one of the leading contemporary Azerbaijani artists. The daughter of Togrul Narimanbekov, a highly influential artist of the late 20 th century, and Elmira Guseynova, a sculptor, she has lived in Paris most of her life, as her father was a long-term Paris resident. Like her father, her paintings are deeply rooted in the folklore and imagery of her country, traversing Post-impressionism, Cubism and Expressionism, her work being saturated with dynamic, vibrant colour. Asmar is an Honoured Artist of Azerbaijan, an Associate Professor of the Azerbaijan State Academy of Fine Arts, a member of the Azerbaijani Artists’ Union and member of the Baku Arts Centre. Neil Watson met her during a rare visit to London where she was in charge of a project for Azerbaijani children entitled Once Upon a Time in London, whereby children visit galleries and paint in the same style as the artworks that they have viewed. Could you tell me something about the Once upon a Time in London project? This was a project for my art students, whereby they would produce their own artworks based on London sights. I regularly organise trips for parties of up to ten children to see the various galleries in Paris. After their visit is complete, they paint pictures in the styles they have seen. For example, they all tried to realise the style of Claude Monet after visiting his house and garden in Giverny. I encourage them to replicate the styles they have seen but, of course, they find their own direction and over time develop their unique approaches. The children start by emulating the style of Vincent Van Gogh, as he was very expressive. His work occupies an important position in the history of art, and he was a transitional figure in the history of art. It is essential never to regard each artistic style as emanating from an artistic vacuum.
It is also necessary to know the basics of art. Artistic education and process are akin to music, where pianists must be able to play classical works by Bach, Chopin and others so they achieve mastery of the keyboard and an understanding of harmony and counterpoint before embarking on improvisations and playing jazz. I took some children to the Tate Modern Gallery in London, where we saw many abstract paintings. It was interesting to note that the boys were inspired, whereas only one girl wanted to realise an abstract painting. Generally, the National Gallery is better for my students, as the paintings are more figurative and seemingly more lifelike and real. For me, it is very interesting to note the emotional reaction of children to the artworks. Each child responds in a different way, and I like to see the way their philosophical and subjective interpretation results in a range of artwork. I am also intrigued as to the future of art as, in my view, conceptual and digital/video art is uninteresting and impossible for children to emulate. I prefer artwork realised in paints or in pencil. Digital artwork is not from the heart, and has a basis in technology, rather than emotion. This is because the artist relies on technology to undertake the work, rather than painting, drawing or ceramics, which are realised by the hands and demonstrate their underlying creativity so well. Emotions physically rest in our bodies, rather than our brains. Those using computers only think of the machine in the box, and this is bad for humanity, as people wish to let their emotions escape and this could be one reason why we live in a hyperbolically aggressive environment. In the contemporary world, children live vicariously through various screens. They are passive, and this results in sense of negativity that is bad for the heart and soul. They undertake many actions without actually moving their body or engaging directly with other human beings. I accept that contemporary digital art is representative of and emanates from technology. It is progressive, but it results in passivity. In my view, this is leading to a human and intellectual crisis, as we are becoming increasingly insular and unable to express our emotions to ourselves, let alone to other people. We must be optimistic that attitudes will change amongst children and young people. Art must move forward and follow new trajectories. It is very interesting to note that which has been produced every time we see a new progressive style. For example, most people who understand composers like Handel can also listen to and understand the progressive avant-garde, as they comprehend the basis upon which that has been developed. They can see the continuity. Similarly, art can break down imagined boundaries between nations and religions, as it is possible to see the connections. However, currently there is an air of polarisation, insularity and lack of understanding, and that is very bad indeed.
An untitled diptych by Asmar Narimanbekova (2006) (Photos: Baku Museum of Modern Art)
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How many children were on the programme this time in London? We were here five days, each of which comprised a programme
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Personalities – Asmar Narimanbekova
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in the galleries, and culminated in a sketching competition. The children undertook many sketches each day in the style of the paintings they had viewed. It was fascinating to note their subjective interpretation of the artwork styles they had seen. Some of the children were from Azerbaijani families living in the UK, and others came over from Baku. I have had many messages and phone calls from families who wish to send their children on further projects, when they take place in the future. I can now organise such children’s projects in France, Azerbaijan and the UK, and soon intend to make a related proposal to UNESCO. This will not be difficult, as I have organised several exhibitions in the UNESCO buildings. My exhibition there in 2015 was for International Women’s Day. My work has also been exhibited at Sotheby’s, including my interpretation of the famed Fabergé Egg, which I painted in Paris with a very interesting composition about Azerbaijan, entitled My Baku. This egg – now sold – was exhibited alongside 287 other Fabergé Eggs that were spread across London. My egg was displayed in Green Park, near Oxford Street. The egg was later sold to raise funds for deprived children and for elephants at risk. Do you listen to music as you paint? I always listen to music as I paint, as did Wassily Kandinsky, who suffered with synaesthesia; conversely, Igor Stravinsky would surround himself with paintings when he was composing. Music helps to still my thoughts and emanates from the same creative root as painting. Music is extremely important for the artist, and I listen to classical, modern, and avant-garde music. Each voice gives us emotion that, in turn, imparts a sense of colour. For example, Pablo Picasso and Arnold Schoenberg were contemporaries with the same root of abstraction, working with Cubism and the 12-tone scale, respectively. They both developed unique avant-garde styles that extended what was possible in their relevant art forms. However, it must always be borne in mind that construction is at the basis of Cubism, and that chamber music is the foundation of the seeming cacophony of the Second Viennese School. I encourage young artists to listen to many types of music as they work, and to be aware of the music that is contemporaneous with the art history period they are studying. It is also essential to be aware of the socio-political environment that surrounded artists and gave rise to their artwork. I make the children to whom I teach art very much aware of this. It is necessary to make them realise that an artistic movement does not suddenly start. In fact, there is a gradual evolution over time. Your technique is very different to that of Togrul Narimanbekov, your famous father, and I note influences from Marc Chegall, Sonia Delaunay, Giacomo Balla and others. Why is this? My approach is a synythesis of styles, but the basics of my work are Expressionism and Cubism. As would be expected, my work has some nationalistic and oriental overtones. I initially studied in Georgia, and am now a Honoured Art Worker of the Azerbaijani Republic. I am also a Professor at the Azerbaijani Art Academy. I have also published a book in the Azerbaijani language about the different modern styles that have evolved since 1880. It covers a wide range of different movements, including Cubism and Futurism, alongside Russian Contructivism and the work of many East European artists. Many of the latter became Paris residents, as they achieved a high degree of liberty there, including Marc Chagall, Wassily Kandinsky, EI Lissitzky and Sonia
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Endless subjective narratives can be created around Balcony (2007)
Delauney, all of whom escaped either the Tsarist Russian Empire or the Soviet Union. Many of these were unable to adhere to the aesthetic of Socialist-Realism, which was the pervading stateaccepted artistic aesthetic in the Soviet Union. Is Azerbaijan your main subject, or do you paint others? Do you undertake still lifes or portraiture? I very much enjoy painting landscapes, birds and still lives. However, I am disappointed about many of the changes that have taken place in the cityscape and landscape. I liked the historic buildings from the first oil boom and even some from the Soviet period, as they featured interesting architectural designs. Even many buildings from the Stalinist period were designed well. Contemporary high-rise buildings, such as those found in Dubai, Naples or New York, are not individual or specific to the place. Togrul Narimanbekov had a unique style that was deeply rooted in Azerbaijani culture and folklore and was definitely not Socialist-Realist. Did this cause any problems during the Soviet period? He only experienced a few difficulties during the earliest part of his career during the Soviet Premiership of Nikita Khrushchev, where Yekaterina Furtseva – the Soviet Minister of Culture – was against new developments in artwork and stopped one painting by my father from being exhibited. He painted a picture of the 26 Communist Baku Commissars who were executed by the Mensheviks in 1918. This was his contribution to a joint exhibition by painters from all the Soviet Republics. He had painted whilst listening to very tragic music by such composers as Wagner and Beethoven. However, the resultant artwork contained many constructivist art and symbolic elements, and was not photorealist in any way.
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Personalities – Asmar Narimanbekova
My father also liked to sing opera, was vocalist of a professional standard, and often wore a shirt covered in soil as he worked. Furtseva rejected the painting by my father for its ‘formalism’, as it was not a figurative artistic representation, and he was criticised as a painter. I was a small girl at the time, and remember seeing my father cry with disappointment. At the time, there was no option of relocating to Europe where he could achieve the necessary degree of artistic freedom. Even when I was aged seven or eight years, I was very much aware of politics and its impact on everyday life. However, approaches and attitudes to progressive art changed during the 1970s, and his work began to achieve appreciation. The authorities began to realise that he was an extraordinary Soviet artist, combining vibrant colours with a wonderful technique to vivid effect. After the final Soviet Premier, Mikhail Gorbachev, came to power in 1985, my father finally received the appreciation that he deserved. In addition to being exhibited in Moscow and Baku, he exhibited in Poland, Germany, Yugoslavia, and the US. Thereafter, he remained in New York for two years to fulfil a contract. He moved to France after Chingiz Aitmatov, the great Soviet Kyrgyz and Kazakh writer, playwright and Soviet/Kyrgyz Ambassador to the EU, NATO, UNESCO and Benelux invited him to exhibit in Luxembourg. He had already obtained a contract with Galerie Alvares in Paris to work with the American Arts Expo in New York. He could see that the situation was very bad and extremely complicated in Azerbaijan immediately following the regaining of independence. He developed many contacts, and received numerous commissions in France and Germany. My father attracted several loyal and appreciative clients, and he achieved complete artistic freedom. One collector in Minneapolis had 55 of my father’s paintings in his collection.
As he became older, and experienced health problems connected to diabetes, he remained in Baku for longer periods of either three or six months at a time. Former President and National Leader Heydar Aliyev was very appreciative of his work, and gifted him with a large studio in the centre of Baku. Despite that, my father strove to distance himself from politics. His only political paintings were two portraits of Lenin, which were executed purely for financial reasons. In fact, he was very uncomfortable with politically-motivated art. One of these is a monumental fresco – 33m tall – of Lenin’s head in Government House that was completed in an amazing 50 days. After a while, my father renewed the fresco, and the image of Lenin no longer existed in the composition. Throughout his life, my father worked quickly, as he knew that his art was based on emotion. He always told me that I should try to work very speedily whilst an emotional and imaginative state continued, so this would be represented in my work. He commented that all the best artists never spend more than one day on a picture, and that, for big frescoes or pictures, an entire element must be completed each day. He was extremely prolific and even completed the enormous fresco in the Baku Puppet Theatre in around two weeks. I remember that he arose each day at 6, and immediately went to the Puppet Theatre. After lunch, he would sleep for one hour, and then worked until midnight. He was very disciplined about his working methods. He felt very comfortable living in Paris, as his mother, Irma Laroudé, had been French and met Farman, my grandfather – an engineer who worked on the Mingachevir Hydroelectric Power Plant – during his studies at Toulouse University. They married in Paris. My grandfather actually came from Shusha, in Armenian-occupied Nagorno-Karabakh, and my father took
A joyous rose-hued Tower (2008)
holidays there during his childhood. My family directly suffered under the Soviet regime, with my grandfather being sent to Siberia in 1937 and my grandmother being forced to go to Uzbekistan in 1941, where she remained for 20 years. After such oppression, state-sanctioned family breakdown and challenges, artistic expression was vital. It was essential to my parents and remains an inherent element of my being.
My father also liked living in Paris as he could regularly view the collections in the Louvre and Musée d’Orsay. He worked between Baku and Paris, changing every three or four months, predominantly due to the weather conditions. Many of his future clients gained awareness of his work because he exhibited in many European galleries and museums.
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Pool – a music-inspired work representing emotions and impressions (2006)
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Personalities – Dr Vazeh Asgarov
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Dr Vazeh Asgarov has played a pivotal role in developing and expanding Franco-Azerbaijani academic relations
French–Azerbaijani University: the academic embodiment of bilateral relations Dr Vazeh Asgarov was appointed as Director of the French– Azerbaijani University (UFAZ) in December 2016, following his nomination by the Azerbaijani Education Ministry and recommendation by Mustafa Babanly, Rector, Azerbaijani State Oil and Industrial University (ASOIU). His appointment was also approved by Strasbourg University, where he had worked for many years, gaining great knowledge of the French educational system. Neil Watson spoke to Dr Asgarov in Baku to learn more about this exciting initiative: What led you to develop an interest in France and the French language? I began to study and appreciate French at school but, before that, my mother read numerous French poems to me. My great interest in French began seriously at the age of 17 when I began my studies at the Azerbaijani University of Languages. During the following four years, I increasingly began to appreciate everything about France, and in my third year began working for the French Embassy in Azerbaijan. In 2003, I left for France to continue my studies, which continued until 2013. I obtained a Doctorate and Master’s degrees. My secret is that this is a country and language that I love very much. You are the director of the French-Azerbaijani University (UFAZ) in Baku. What are its aims and objectives? The creation of the French–Azerbaijani University and the UFAZ project was launched in 2014, following the meeting in Baku between former French President François Hollande and his Azerbaijani counterpart Ilham Aliyev. UFAZ was inaugurated on 15 September 2016 with the objective of modernising Azerbaijani higher education by applying various educational techniques that exist around the world, thereby creating a university of excellence at the highest level. As part of this, I have sought to develop Azerbaijani higher education and to create scientific collaboration with industrial companies, particularly those focusing on science and technology. The UFAZ project is close to French industry, as it has a direct connection with a consortium of French universities spearheaded by the University of Strasbourg, on one side, and the Azerbaijani State Oil and Industrial University (ASOIU), in collaboration with the Azerbaijani Ministry of Education. Is it possible to explain the structure of UFAZ? During the first year of its existence, 300 candidates participated in a test to assess understanding of the taught subjects. This was in English, as that was the language of the lectures. Actually, UFAZ offers four double diplomas, accredited by the University
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of Strasbourg and ASOIU, with the fourth being certified by the University of Rennes and ASOIU. The degree subjects are: Chemistry Engineering; Computer Science; Geophysical Engineering; and Oil and Gas Engineering. Following the Memorandum of Understanding ratified by UFAZ, each side is responsible for 50 per cent of the educational content. What is the significance for Azerbaijan of the establishment of the UFAZ Foundation? When we established the UFAZ project, it had its own legal basis. We called upon fundraising experts for advice, and they invited businesses, universities and those with a known interest in the sector to assist and donate. How many Azerbaijani students are studying in France at present, and which subjects do they prefer? Study organised here in Baku takes place in the ASOIU building that has been dedicated to UFAZ. The duration of a French degree course is three years, whereas it is four years in Azerbaijan, so we decided on a course of study that encompasses both. Altogether, 141 students passed the basic first year course, which is taught in two languages – French and English. Why is the French–Azerbaijani relationship of great importance to both countries? Relations between France and Azerbaijan in the 20 th century were initiated by the first Bakuvian diplomats posted in Paris from May 1919–April 1920, during the first period of Azerbaijani independence under the Azerbaijan Democratic Republic. Today, since the regaining of independence in 1991, French–Azerbaijani relations have reached a new level in economic, cultural and political terms. France was amongst the first countries to recognise Azerbaijani independence and, soon after, opened its embassy in Baku. In 1993, a Friendship Accord on Mutual Understanding and Co-operation was signed between the two countries. France is also one of three OSCE Minsk Group Co-Chair countries, tasked with achieving a negotiated peace in the Armenian–Azerbaijani conflict over Nagorno-Karabakh. What is the potential for the future development of UFAZ? Since the start of the new academic year for 2017, UFAZ has been based in a new building. The number of students, academics and administrative staff will be doubled. We also want to create more workspaces and open research laboratories. I believe it is also necessary to offer a new Master’s programme, and forge connections with researchers and Ph.D students for further collaboration.
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Culture
The Silk Road – and the spirit of Azerbaijan – combines with Monet’s inspirational environment The Festival Musique de Chambre à Giverny, which takes place each year in the Normandy region of France, paid tribute to Azerbaijani classical music as a part of the main theme of its 13th edition, which was La Route de la Soie (The Silk Road). The festival, which took place from 17–27 August, comprised 11 concerts and a conference. TEAS France supported the festival. Taking place in a range of picturesque and evocative locations, including the Musée des Impressionnismes (Museum of the Impressionists) in Giverny and the Mairie de Vernon (Vernon Town Hall), the concerts in the Silk Road strand of the festival featured original works by Azerbaijani and Eastern composers, alongside their western counterparts who were inspired by the Orient. The event saw revered contemporary Azerbaijani composer Franghiz Ali-Zadeh presenting several of her own works in a festival that also celebrated her 70th birthday. Chair of the Azerbaijani Composers’ Union for the past decade, she was inspired by the great Azerbaijani composer Kara Karayev, her lecturer at the Baku Conservatoire, in addition to the twelve-tone scale technique developed by Arnold Schoenberg and Alban Berg. Throughout her oeuvre, she has sought to synthesise Azerbaijani mugham microtones with the Western European avant-garde, resulting in pieces that are unique and electrifying for the informed listener. This has led Ali-Zadeh’s work to be performed by a range of leading western musicians, including cellist Yo-Yo Ma, the Kronos Quartet and violinist Hilary Hahn. Her variations on Mugham Sayagi for string quartet opened the concert Sur les routes de la Soie (On the Silk Roads) on 18 August. Cellist Michel Strauss, Artistic Director of the Festival, prefaced the concert by saying: “Franghiz Ali-Zadeh is an extraordinary woman who has created a unique musical language, combining the traditional music of her country with the classical avant-garde. Her music forms an integral element of tonight’s musical journey.” Franghiz Ali-Zadeh replied: “Tonight’s work – Mugham Sayagi – was a very important piece for me, having originally been played by the Kronos Quartet. It is mystical and impressionistic and contains themes from mugham, which brings together the art
forms of poetry and music.” The work was performed in a dramatic style, opening with the violinists having their back to the audience, the piece beginning with a plaintive drone, and passing through a gradual crescendo, pizzicato strings, lyrical sections, dance motifs, and the use of a gong and triangle. The performance ended with all the musicians turning their backs on the audience as they slowly walked away in ebbing silence. According to the programme notes: “With an attitude akin to that of the giant Sergei Prokofiev, Franghiz Ali-Zadeh does not reclaim her heritage; all are stirred by her folk-like effects, mechanical motifs, lyricism and the way it develops over time; such details will change the listener.” Following the performance and a moment of rapt silence, the audience gave a standing ovation with multiple curtain calls for Mrs Ali-Zadeh and the musicians. Comments made to Mrs Ali-Zadeh by the informed and appreciative audience included: “Formidable!”; “Incredible” and “You opened a new sound world to me.” Also on the programme was the premiere of a string quartet transcription of Nikolai Rimsky-Korsakov’s Scheherazade, inspired by the westerly regions of the Russian Empire (which included the current territory of the Republic of Azerbaijan) and contemporary Chinese composer Tan Dun’s Eight Colours, all of which served to complement a reading of explorer Marco Polo’s Book of Marvels. Listeners the following day to the concert entitled To the Heart of the 1001 Nights heard Ali-Zadeh’s Reqs, representing the various forms of Azerbaijani national dance, originally written for the Kronos Quartet. This was followed by her compatriot Fikret Amirov’s Symphony for String Quartet in memory of the poet Nizami, comprising themes from his 1947 ballet written in memory of Nizami Ganjavi, who is generally regarded as the greatest epic poet in Azerbaijani history, whose works included Leyli and Majnun (1192) and the Seven Beauties (1197). The other works on the programme were Luciano Berio’s 1964 cycle Folk Songs, which included his evocative Azerbaijani Love Song for soprano and Maurice Ravel’s song cycle Shéhérazade, a setting of poetry for soprano, describing Central and Eastern Asia and the Muslim East. The centrepiece of the concert on 20 August, amidst the creative surroundings of the Musée des Impressionnismes, entitled On the Shores of the Caspian, was the world premiere of Ali-Zadeh’s Nymphéas et les Nuages for principal cello, flute, two violins and viola. This was inspired by the oeuvre of Claude Monet, the most famous resident of Giverny. Other works on the programme included arrangements of Alexander Borodin’s tone poem In the Steppes of Central Asia and his Polovtsian Dances from the opera Prince Igor, describing a Turkic tribe, some of whom came to live by the Caspian Sea. The programme also included a rare western performance of Soviet composer Reinhold Glière’s Overture to Shakh-Senem, composed in Azerbaijan soon after it entered the Soviet Union in 1923.
Azerbaijani composer Franghiz Ali-Zadeh explains the background to her Mugham Sayagi for string quartet to cellist Michel Strauss, Artistic Director, Festival Musique de Chambre à Giverny
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This was an evocative and remarkable festival, encompassing many composers, themes and musical traditions, the cornerstone of which was Azerbaijan, and its focal point being the work of the remarkable Franghiz Ali-Zadeh.
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Pomegranate Garden tipped for Oscar success The 500-seater Nizami Cinema – built in 1940 and the biggest cinema in the South Caucasus – has hosted the Azerbaijani public premiere of the new Azerbaijani film Pomegranate Garden, on the Azerbaijani Day of National Cinema, subsequently being selected as the Azerbaijani entry for the annual academy awards in the Best Foreign Language Film Category. The screening celebrated the exhibition of the first exhibition of an Azerbaijani film – Oilwell fire at Bibi-Heybat, made by Russian cinematographer Aleksandr Mishon in 1898 for the Lumière Bothers, inventors of projected cinema.
Pomegranate Garden was produced in 2016 by the Azerbaijani Ministry of Culture and Tourism and made by the Jafar Jabbarly Azerbaijan Studio and Buta Film. Many leading Azerbaijani and Turkish stars attended the premiere, in addition to Abfulfaz Garayev, Azerbaijani Minister of Culture and Tourism. The film has already been screened at the Karlovy Vary International
Nadir Aliyev, Jafar Jabbarly Azerbaijan Film Studio – producer of Pomegranate Garden – receives an award from Abfulfaz Garayev, Azerbaijani Minister of Culture and Tourism (Photo: Aynur Badalova)
Film Festival under the East of the West category, and was in competition at the 11th Asia Pacific Screen Awards. The main star was revered actor Gurban Ismailov, playing an elderly man whose house is surrounded by healthy pomegranate trees, living a simple life by selling the fruits in the market. He then comes under unwelcome pressure from friends of his son to sell his house. This simple, yet allegorical, story featured
extraordinary acting and cinematography that captured the beauty of the Azerbaijani countryside, encapsulating the strong connection of Azerbaijanis to their homeland. The director was Ilgar Najaf, who was also one of the screenwriters, who previously directed and wrote Buta, selected as the 2013 Azerbaijani entry for the Academy Awards. Go to http://bit.ly/ pomegranategarden to see the trailer for Pomegranate Garden.
Zulfugarova brings Eastern wind to South-East France The long-term Parisian-resident pianist Saida Zulfugarova has brought the spirit of her Azerbaijani homeland to the 16 th Vent d’Est (Eastern Wind) festival, organised by the local Maslinitsa Association at La Rosière, France.
Performing in the ancient and evocative surroundings of the Chapelle Saint-Michel Montvalezan, her repertoire included the virtuosic Grande Valse Brillante by Chopin; Black Earth by Turkish pianist/composer Fazil Say and his arrangement of George Gershwin’s languorous Summertime from the ‘folk opera’ Porgy and Bess; Rachmaninov’s dramatic Prelude in C Sharp Minor; Beethoven’s tempestuous Appassionata Sonata and Chopin’s Ballade
No.3. Following rapturous applause, Saida delighted the audience with the rhapsodic The Sea by Farhad Badalbeyli, Rector, Baku Music Academy.
The concert was a revelation for many. Philippe Broux-Quemerais, an audience member, wrote: “Your interpretation of the Valse Brillante by Chopin was brilliant and luminous. I was pleased to discover the repertoire of Fazil Say and Black Earth made me want to know his work. The performance of Summertime at the end transported me on a diamond of emotion and your sensitivity reverberated in me.” The organisers rewarded Saida with a diploma for ‘exceptional participation’ in the festival.
Supremely talented Azerbaijani pianist Saida Zulfugarova played a richly dramatic programme of Azerbaijani, Turkish and Western classical music, performed with verve and panache
National costumes on display in Baku
A landmark exhibition of Azerbaijani national costumes has opened at the Azerbaijani National Museum of History, organised by the Museum and Azerbaijani National
Just a few of the intricately handcrafted national costumes, complemented by contemporaneous illustrations (Photo: Aynur Badalova)
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Centre of Educational Technologies. Dr Naila Velikhanli, Museum Director; Sabina Dunyamaliyeva, Exhibition Curator and Dr Sabuhi Akhmadov addressed the private view and explained the exhibits. They stressed that the exhibition aims at preservation of Azerbaijani–Turkic–Muslim culture in a globalised world, ensuring its transmission to future generations. Complementing this, the exhibition featured historical photos and sketches from the museum archives. All the national costumes were created on the basis of studies undertaken by Sabina Dunyamaliyeva in the museums of Azerbaijan, Georgia and Iran, particularly focusing on Azerbaijani costumes of the late 19 th and early 20 th centuries.
Tour for carpet aficionados The HALI Tour to the Caucasus will run from 21–27 October, focusing on the carpet- and textile-weaving traditions of Azerbaijan and Georgia. This tour will traverse both countries, taking in museums and carpet-weaving workshops, giving an invaluable insight into these magnificent works of art. Full details may be found at http://bit. ly/halicaucasus and enquiries should be made to Rachel Meek on rachel. meek@hali.com. The tour is timed to follow the 5th International Symposium on Azerbaijani Carpets (ISAC 2017) in Baku (www.isacbaku.org).
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Personalities – Tural Aliyev
Tural’s plan includes retrofitting the heavy industrial area in the direction of the Caspian Sea
Applying a new urban philosophy to Baku: aligning Swiss expertise and the Azerbaijani history to retrofitting
Tural Aliyev is one of the brightest emerging stars of Azerbaijani architecture and urban planning. Currently completing his Ph.D. at the University of Geneva, his philosophy of architecture and the urban landscape is in marked contrast to that of the Soviet past. His fascinating new thesis now applies the latest concepts of urban retrofitting to his home city. Neil Watson caught up with him during a scientific conference in Baku to find out more:
What stimulated your interest in architecture and the built environment? I originally viewed architecture as a creative career that would also result in designing quality accommodation that would be affordable for citizens. In the first instance, my main objective was to serve the people and to create constructions with a positive social impact. My studies began in 2005, when architecture and urban planning were underdeveloped in Azerbaijan, lagging considerably behind European countries and Turkey. I became aware of the necessity to construct more sustainable houses with the lives of citizens at the core, taking their role into account during urban planning. When we come to see the environmental perspective, we must remember that Baku is an oil city. There was considerable exploitation of oil reserves over more than 150 years. This had an overwhelming impact, both on the environment and social health, including air pollution and water quality. These aspects have become imperative when seen from a global perspective that takes into account the contemporary dynamics of climate and environmental change. The UN has designated 17 sustainable goals, one of which is to enhance the green values of the contemporary cityscape, and many directives focus on this. This shows that sustainability should be a key element for projects. In that regard, it is essential to understand the environmental and social perspectives of Baku, and to realise that the built and natural environment must work together. In fact, today’s trend is to broaden the interface of the built and natural environment in a way that satisfies the needs of citizens. This approach is starting to emerge in Azerbaijan and in all post-Soviet and post-Socialist countries. These often have particular problems related to the past political and economic system. Socialist cities were developed
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without a free market, with everything being developed under state control. The authorities were less interested in the environment, demonstrating less desire to enhance the attractiveness of the city to the urban population, and reducing energy usage to make them a more clean and healthy place in which to live. In Azerbaijan, many of our issues are inherited from the former Soviet Union. For example, there is a huge brownfield site near the city centre in Baku. Such an environment would be unthinkable in the heart of a city that developed in the capitalist world, where there is a free market and public sector, where small-scale brownfield sites are located far from the city centre. In the past, environmental and social questions had less priority. However, our approach, which is focused on urban sustainability and retrofitting is the reverse of the Soviet ethos, where people were basically just cogs in an enormous economic machine. Unlike the Soviet period, there is no longer any requirement to wait for the capital city to issue directives in terms of sustainability, social cohesion and other elements. In the contemporary world, we are increasingly working with the municipalities and the cities. These are now the engines of the sustainability concept and environmental programmes. Today we are speaking to a greater than ever extent about cities, which mean that the ability to restore, recover and prepare for future shocks is far greater than in the past, both in terms of economics and the environmental issues of climate dynamics. Cities need to have the ability to restore, recover and promote sustainable development, including growth. They need to be more for people and promote social cohesion, which has decreased, despite the fact that average disposable income has increased considerably. This has happened as cities become increasingly large, where the social and environmental elements of the city have been reduced. In my opinion, urbanism is the engine of the city, determining the creativity of its citizens, and this new sensibility is the reverse of past policy. It is imperative to achieve a sense of community in the modern city. The urban conurbations are under pressure from investors to construct new buildings that meet their needs, but that may compromise the human element. In my view, the priority is to create a better sense of community in the city, which gives value to dwellers.
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Personalities – Tural Aliyev We must think of how to restore brownfield sites, make cities more convivial and produce new values. This is known as urban retrofitting, and serves to create new trends for cities, not merely retrofitting the territory that was impacted by industry and the heritage of industrialisation. Such brownfield sites are without function in contemporary cities. Retrofitting is a key element for public spaces, but we also need to look at existing buildings to see how they can be retrofitted and become more energy-reduced, thereby developing a more functional and sustainable approach. Retrofitting is now receiving increased scrutiny from governments across the world, and urban retrofitting is one of the key aspects of my Ph.D. thesis. We are not just considering new buildings – we are addressing the pre-existing urban conurbations. Many experts have now turned against urban sprawl occupying large amounts of natural territory. Furthermore, ideas of demography now rank amongst the key aspects that we must take into account. Modern cities have increased traffic, and half of the world’s population are city-dwellers. In a few years, the urban population will account for over 70 per cent of the world’s population, with different needs and requirements to previous generations. Despite densification, it is essential to create good conditions for urban-dwellers. We must think about how to address the concept of the city and promote many aspects of sustainability, including environmental Western-educated Tural Aliyev has developed a refreshing new vision for Baku that places humanity at its heart
elements and social cohesion, reducing the impact of the city on the health of the population and factoring in the aspects that were ignored during past urban planning. Did you study such topics when you were studying at the Azerbaijani University of Architecture and Construction? My education at the Azerbaijani University of Architecture and Construction provided me with a solid foundation. During the four years in which I studied (2005–09), I obtained a good technical, practical and theoretical knowledge of architecture and urbanism. Moreover, I was more interested in understanding how architectural theory was developing and changing. I wished to study the history of architecture in each country, comprehending how it was impacted by the social and political systems and predicting the future in terms of architectural style and approach. I also wanted to explore the concept of architecture in relation to the collective memory of the city. However, the abovementioned topics and city challenges were less addressed. What led you to study in Montpellier? Montpellier is a city in South-Central France, the home of one of oldest medical academies, where Nostradamus studied and worked. This is also a city of medieval architecture and the home of the École Nationale Supérieure d’Architecture Montpellier. As you will be aware, Baku has a rich heritage of French architecture dating from the time of the first oil boom in the late 19 th and early 20 th centuries,
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constructed prior to the subsummation of Azerbaijan into the Soviet Union. Bakuvians see these buildings constantly and are fascinated by their practical and technical structure. A Memorandum of Understanding between my university in Baku and that in Montpellier facilitated my study there. In Montpellier, I particularly focused on architecture, rather than urban planning. However, the technical approach was different, and in France it was more natural to consider sustainable, economic and environmentally-friendly concepts with a social context. For example, I was positively shocked when I discussed my project for the first time, and the question was posed as to how disabled persons could gain access to my buildings. In reality, people who have ability problems must be taken into account. If you are unable to answer any question, your project will not be approved. In Western Europe, the key aspect is the social and environmental. Projects are primarily aimed at people. The second question concerned the optimal use of materials for each building and the incorporation of initiatives to reduce electrical usage and maximise the extent and amount of natural lighting. If people are happy in their environment, they tend to be more economically efficient, and such issues as ‘sick building syndrome’ are negated. City-dwellers do not want to escape their environment, as is so often the case, and will be more productive. A more humane city is actually better for the economy too. My scholarship at Montpellier was covered by an Azerbaijani government scholarship for the first academic year (2009–10). Then I continued my studies at the University of Montpellier and thereafter I undertook an internship in Paris for six months, and I noticed a stark contrast, as Montpellier is a provincial city. It was considerably more challenging to consider a sustainability project relating to Paris. The city of Paris was also unique as there was a complete renewal of the city in the 1870s under Baron Haussmann, the Prefect of Paris, at the behest of Napoleon III. In fact, Napoleon III had visited London to evaluate its development, and this stimulated him to rework the French capital. Another important issue is that, in Paris and other western cities, the government preserves historic buildings, although retrofitting is permitted. It is very important to them that the heritage is retained, whereas in Baku we have had a tendency to tear down old buildings without too much
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Personalities – Tural Aliyev
Tural delivers an inspired lecture to students at the University of Geneva
thought, as that can appear to be an easier option. Many of the large-scale urban projects in my home city have destroyed everything that previously existed. In my view, it is necessary to retain the historical and heritage elements of buildings and retrofitting does not necessitate replacing everything. It is imperative to retain the heritage of the city and maintain the collective memory of the cities, as reflected in our built environment. It is sad to see a city that is completely devoid of all historical and heritage elements. Naturally, there are many debates to this effect across Europe. In Baku we need to establish expert groups focusing on this topic. We must carefully consider the plans for new projects and see how heritage and collective memory can be factored into these. For example, in Geneva, change is quite slow, and small constructions can take up to a decade to complete. The Swiss authorities are very keen to retain historical buildings and the fabric of the city, although such a pace of change would be inappropriate for Baku. It must not be forgotten that the fabric of the city impacts the psychology of every citizen. Jane Jacobs’ book on The Death and Life of Great American Cities, which speaks on urban planning policy being responsible for the decline of many cities, together with the well-known article by Jean Baudrillard on The City and Hate, warned us about the situation in modern cities. According to Baudrillard, industrial territories, highways and transport play an indispensable role in the growth of social tensions in cities. Another author, Sebastian Marot, speaks about each part of a city having a nostalgia and heritage for someone, and they become accustomed to this space. If we destroy everything, we completely lose the soul
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of a city. Only by undertaking interviews with the people who actually live there can we begin to comprehend their emotional response to their environment. Then urban retrofitting and planning can be undertaken through a kind of consensus, as they need to have a transdisciplinary approach. As mentioned by Edward Soja, the reflection on urban spaces has become important in urbanism and today, more than at any time in history, at least during the last two centuries, reflections on urban space have become transdisciplinary.
by urban regeneration, and is mostly occupied by industry. There are railway stations and brownfield territories.
What is your topic of research in Geneva? I am currently undertaking Ph.D. research at the University of Geneva in the Institute for Environmental Science under the supervision of my professors Alexandre Hedjazi and Laurent Matthey.
There is a specific challenge for Baku, as it aspires to be a global city. Many international events have been organised in Baku and it has become a cultural centre and home to many sports competitions. Furthermore, Baku wants to become a central location for the world’s greatest architects. We see that Baku aspires to be original, whilst becoming a city of global importance, hosting global sports and cultural competitions etc. Baku should take its place by becoming a city that promotes stability and social cohesion, with a reduced environmental impact. It wants to set an example to the world, and it needs to think about this so it becomes a benchmark for post-Soviet and post-Socialist countries in terms of planning, organisation and social cohesion. It needs to pay particular attention to social phenomena.
I am working on large-scale retrofitting and am trying to find a new way or interface between the built environment and natural environment, as in the case of the Baku Metropolitan Area. Indeed, there is an historical, economic and cultural centre in the west of Baku. Furthermore, in the East, you have the Soviet part of Baku. In the middle, you have a hybrid territory, but predominantly industrial, from the lake in the north up to the Caspian Sea. No clear vision has been decided upon that affects all the territory. Some sections are still used as storage for lorries and cars, but it remains impossible for people to actually stay there. This is not a place of social cohesion. It is necessary to retrofit this entire territory and create an interface between the western and eastern part of the city. We are trying to conjoin a separated city and transform it into one single organism. I am looking at an area of the city that remains untouched
It is true that a project of renovation is currently underway, particularly along the Heydar Aliyev Avenue, which goes along the side of the road from the airport to Baku. There is also a retrofitting project of the Boyuk Shor Lake to the north of Baku, and the project for Baku White City. However, there is no clear vision for all the perimeters of the territory and different challenges.
The city should not destroy the environment – instead, the environment should become the matrix of the projects and the territory should define its future, based on its natural resources. Azerbaijan needs to be seen to create a city that takes people and their humanity into account. From Baku, I went to Montpellier, but then I wanted to find a more global city where I could have greater connections with academic and other stakeholders.
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Personalities – Tural Aliyev Being supported by the Swiss Government Excellence Scholarship Programme took me to Geneva – often called the smallest global city. If your work or study is there, it is possible your ideas could go across the world. There are many international organisations in Geneva, some of which work on social or environmental issues, including those founded under the auspices of the UN. It is beneficial to meet their representatives and to attend their conferences. It is also pivotal to remain aware of the cutting-edge developments in relation to Sustainable Development Goals (SDGs) and to see the key elements they are speaking about. Are you receiving a positive response at a governmental level to your suggestions? We are currently undertaking consultations with the Azerbaijani authorities and other stakeholders. I am currently undertaking consultations with the Baku White City project, the Ministry of the Environment and Natural Resources and the Committee of Architecture and Urbanism. On the next step, I hope to take consultations from SOCAR’s Environmental Department, and the Executive Power of Baku City etc. It is important to recognise that we have been creating American-style high-rise buildings such as the Flame Towers, Zaha Hadid’s Heydar Aliyev Centre, Port Baku and new highways and concreted areas. We completely understand that Baku is a capital city with pre-eminence in various fields (social, economic, sports, etc.) and has always had a considerable impact on
the country (even more than in the Soviet period). Urban projects or retrofitting in a capital city must always factor in the political and economic dimension of the country, that is to say, the projection of power, economic success and urban realisation that must be reflected in the programme. We should know that environmentally-friendly projects can consider the aforementioned elements. We should remember the examples of the Hammarby Sjöstad Eco-quartier in Sweden and the Masdar Sustainable City project in UAE. It’s sad to say, but Baku is pursuing the same approach as many American cities after World War II to some extent. These constructions were entirely made from concrete as architects and engineers saw this as the only way forward. We now need to think about destroying the concrete, reclaiming nature, uncovering rivers and creating value for people to make their lives in the city. For example, Los Angeles was formerly one of the most polluted cities in the US, and today it is one of the cleanest. We saw how they planned the city and created a new harbour, located some distance from the urban areas. We saw, during our stay in UCLA, how they made the critical infrastructures – the airport, the hospitals and the universities – into sustainable engines of the city. We saw how they reduced the impact of aircraft noise, for example, and improved air quality. Sustainability has three pillars – economic, environmental and social – and there has
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to be balance in urban planning. Nowadays each country has sustainability standards, and each new building must comply with these. Modern buildings are in close proximity to each other, as developers try to maximise revenues. This serves to eliminate sunlight and make each apartment reliant on artificial lighting. We need to understand the problems of the past, and embrace the new, natural and humane. As we all know, the Azerbaijani economy has taken a downturn over the past two years, and costly projects are inappropriate for the current economic situation. Instead, sustainability, both during construction and regarding energy use, needs to be our watchword. I hope that I will receive some positive feedback in the coming years, particularly after I have completed my research and in the light of the crisis due to the decline in the oil price. I would like my research to be presented at universities, as it is designed to benefit all of society – stakeholders, public and private sector representatives, NGOs, and academics. All of these players have their role to play in the underlying decisionmaking and development of urban projects. This is a very long-term project, and the next stage will involve applying my practical ideas to society, as those who live amidst the built environment are directly impacted by it. I want my ideas to play a significant role in transforming Baku from being an industrial city to a smart and sustainable city.
The concept for the retrofitting of Baku – formerly one of the most polluted places on earth
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