Ketema Journal JAN_FEB_2021

January | February 2021

14

አዲስ

አበባእና

አድዋ

22

Zoma

Museum \ \/ / 06

125th ADWA VICTORY

Ethio China friendship road

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Addis Ababa, Ethiopia

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TOWER ENGINEERING & CONSULTANCY 251 115 579 142 251 929 133 553/37 Burj Khalifa Empire State

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Eiffel Tower Oriental Pear Tower

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Zemen Bank Hibret Bank

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CBE HQ ORDA

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CURRENT & COVER IMAGE: MICHAEL TEMTEME

JANUARY - FEBRUARY 2021

22 7 14

Editor’s Summary

አዲስ አበባ እና አድዋ ህላዊ ሰውነት

architects ወርሃዊ

10

News Updates

16

ስለ ከተማ

34

Mesqel Square Update

36

Anthropogenic Connections

38

Supplier List

40

Material List

46

Eyob Biruk

መነፅር

Wondyerad Mamo

20 22

Lamba

Kalkidan Tesfaye

Eugenio Tibaldi

Zoma Museum

Article: Betelhem Amanuel

The African Building Platform

6th Issue +251 900 57 19 12 www.ketemajournal.com Addis Ababa, Ethiopia Editorial Advisory Addis Mebratu Helawi Sewnet Maheder Gebremedhin Zeleke Belay Co-Founder Leulseged Tibebu leulseged@ketemajournal.com

Editor-in-Chief Wondyerad Mamo Art Direction Leulseged Tibebu Writers Amanuel Samuel Betelhem Amanuel Eyob Biruk Contributors Elias Sime Helawi Sewnet Kalkidan Tesfaye Medhanit Tadesse Meskerem Assegued Photographers Solan Kifle Himick Marketing Eden Yohannes

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Special Thanks Benedetta Castrioto Esmelealem Zewdie Ermias Teshome Jesal Mehta Michael Getachew

Addis Ababa, the capital of Africa is getting older!

This Ethiopian year, the glorious Victory of Adwa marks its 125th anniversary while Addis marks its 135th. In this special issue, our contributor Helawi Sewnet (Architect) resonates on the impact of the victory of Adwa over the formation and growth of Addis Ababa as the legitimate capital after the victorious battle.

Our featured project is also about an immensely celebrated piece of modern artwork, Zoma museum.

Filled with clusters of beautiful units made of the humble earth, wood, and straw complemented by intricate decorative surface details situated in an ever green yet edible garden setting. Our correspondent Beth has prepared a narration of her experience with a touch of poetry for you.

On the 26th session, architects ወርሃዊ hosted Addis Adugna to expand on the previously presented topic. The seasoned architect shared 14 years of experience on the AEA Competition Bylaw as a continuation to the topic “competition challenges”. Check out the summay by Eyob.

Lamba, a startup inspired by one of the oldest lighting techniques in Ethiopia took its first steps in product design by creating lighting fixtures from easily available materials. The experimental journey of the startup has been put under the spotlight section of this issue.

It has been almost six months since our last update on Mesqel square and rather noticeable progress has been made on the overall appearance of this prominent public space. Check that out too!

Leaving you to enjoy the content, we would like to wish fellow black people a happy victory day! Mark the date to celebrate victory not independence!

Stay Safe, Wondyerad Mamo, KJ

Benedetta Castrioto Project Manager at Zoma Museum benedetta@zcac.net Elias Sime Artist, Co-Founder at Zoma Museum www.zomamuseum.org Helawi Sewnet Beshah Architect, Director General, Addis Ababa City Construction Permir and Control Authority. twitter handle: @HelawiSewnet Kalkidan Tesfaye Mulat Architect, Founder, Lamba Studios lambastudios2016@gmail.com socialmedia handle: @lambastudios Medhanit Tadesse Ayele Researcher, Co-Founder at Menetsir menetsir.eth@gmail.com socialmedia handle: @menetsir Meskerem Assegued Bantiwalu Anthropologist & Art Curator Co-Founder at Zoma Museum www.zomamuseum.org Copyright © 2020 Ketema Journal While every care is taken to ensure accuracy, the publisher assumes no liability for errors or omissions in this publication.

All advertisements are taken in good faith, and the opinions and views contained herein are not necessarily those of the publisher. All rights reserved. No part of this publication may be reproduced in any form or any electronic or mechanical means, including information storage, and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in review.

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Greetings, friends and colleagues, January’s architects ወርሃዊ was an interactive and educational session. It was a subsequent of the previous discussion about design competition challenges with Zeleke Belay.

This time it was focused on the AEA Competition Bylaw and what it stands for.

Addis Adugna commenced the presentation by mentioning that AEA has been hosting

competitions for more than 14 years since 2006 G.C. He pointed out that competitions aid in generating new ideas and publicizing young and proficient architects. A brief overview of competition products/designs in the global scope

as well as the national scale was presented.

Sydney opera house in Australia and National Palace in Ethiopia were indicated as products of design competitions. In the local case, some of the challenges of design competition prior to the adoption of AEA bylaw for competition were closed jury reports and incomplete Terms of References. The appraisal method was one of the area that was neglected. The composition of the jury, the name of the jurors was never announced to the competitors/entrants.

Comprehending the AEA Competitions Bylaw Addis Adugna Summary: Eyob Biruk 10

The AEA competition bylaw was adopted from UNESCO’s standards and regulations.

Each article of the UNESCO regulations is accompanied by explanations and terms of regulations to assist the promoters in the organization of international competitions. The main focus of AEA bylaw was on architecture and town planning. The 2006 bylaw includes several articles about AEA’s approval, prize money, compensation and the jury. AEA’s approval category mainly focuses on how the architect registers for the competition and legal proceedings. Article 21 as an example states that “The promoter undertakes to accept the decisions of the jury and to pay the prize money within one month of the announcement of the competition results”.

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updates

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Addis noted that after the endorsement of the bylaw, projects like Zemen bank headquarters, 2011 and Gulele botanic garden, 2008 were designed. Other competitions that took place between 2015 - 2017 were met with challenges of finance. Money or budget was considered as a main parameter for winning. The AEA competition bylaw was later revised on 2019 and has 11 sections and 51 articles.

Another broader point raised was that classification and type of competitions were included in the beginning of the bylaw. One important revision was “Any set of regulations should be published in English language” and “Insurance of competitors’ designs”. Submission and judgement of designs should stay anonymous. Submission of unnecessary or extra documents to the jury would ultimately result in document removal from the competition. Another crucial article mentioned was “Each participant in a competition by invitation shall receive an honorarium in addition to prizes”.

All these revisions on the design competition bylaw were included in the document after a long and thorough review and reflections from members and chair persons of Association of Ethiopian Architects.

@theurbancenter

251 115 58 16 33 theurbancentereth@gmail.com 12

An important article of the bylaw that mensions “jury members are appointed by the promoter after AEA’s approval” was also presented. A related article about the jury process indicated that “same jury should judge all stages of design competitions” and “the jury expenses are to be paid by the promoter”.

Design fee and procurement related issues are some of the enduring challenges of design competitions. Offices have also developed a practice of entering into competitions and outsourcing it to young architects with limited arrangement on recognition and involvemnt of the team further into the next steps of the project incase of a win. Offices should be responsible enough to become a vesel for such upcoming professionals and foster rather potential leaders of the industry.

Some discussion points raised were: How the competitors design the projects and how the fee should be fixed. It was also raised that the documents should be functional to all members. Ethical standards on abiding with the competition bylaw was pointed out by participants of the session. Another participant mentioned how flexible the competition bylaw could be, if it were to meet the demand of the architect in discussion. Addis responded by clarifying that the bylaw as a basic guideline for architects and respective firms. That is a document aimed at ensuring a harmonized process of competitions. As it was apparent from the discussion, Increasing the document’s security to ensure that the winner will do the project is a crucial factor.

The enlightening presentation by Addis Adugna was concluded by remarking creation and recognition of young architects should be given emphasis when hosting design competitions. It was also suggested that the current competition bylaw should be revised to accommodate some changes.

The session was finalized by implying that future discussions are encouraged within members and chair-persons of AEA to improve and effectively enforce the design competition bylaw as a framework. updates

#13YearsonAir The popular radio show KEBET ESKE KETEMA (ከቤት እስከ ከተማ) marked its 13 Years of broadcast on the 22nd of December 2020.

The show started airing on December 25, 2007 with an objective of fostering dialogue about architecture, engineering, construction, and urban life among professionals in the city to create social awareness of the profession and suggest potential ideas to improve the livelihood of Ethiopian cities.

Initiated by Mahder Gebremedhin, Architect as part of the Corporate Social Responsibility (CSR) initiatives of his company Yema Architecture.

YEMA, an architectural consulting company founded in September 2007, launched its Urban CSR initiative three months into its establishment to power Kebet Eske Ketema (KEK) with both finance and personnel.

One of KEBET ESKE KETEMA’s objectives is to create and produce locally initiated global knowledge in all aspects of urban life.

The event was commemorated with an interactive discussion session with audiences from all parts of the city.

13

አንድ መቶ ሃያ አምስተኛውን የአድዋ ድል በምንዘክርበት በዚህ የካቲት ወር በዚህ መጣጥፍ መመልከት የምፈልገው ታሪካዊው የአድዋ ድል፣ የኢትዮጵያ መዲና የሆነችው አዲስ አበባ አሁን ለያዘችው ማንነት እና ዘርፈ ብዙ የእድገት ደረጃ ያደረገውን ከፍተኛ አስተዋጽዖ ለመዘከር ነው። አዲስ አበባ በ 1878 ዓ.ም. በንግስት ጣይቱ አማካኝነት እንደተቆረቆረች የታሪክ ማህደራት ያስታውቃሉ። ከተማዋ የተመሰረተችው የሸዋ ክፍለ ሀገር ንጉስ የነበሩት አጼ ምንሊክና ባለቤታቸው ንግስት ጣይቱ ከተማ የማቋቋም የረጅም ጊዜ ዕቅድ ኖሯቸው ሳይሆን፣ በወቅቱ በነበረው ተንቀሳቃሽ የሆነ የአሰፋፈርና የአከታተም ባህል ምክንያት፣ እንደ ጊዜያዊ ወታደራዊ ካምፕነት እንድታገለግል ፈልገው እንደነበር ብዙ ምንጮች ይጠቅሳሉ። በዚህ ሁኔታ ባልተጠበቀ ክስተት በወቅቱ የኢትዮጵያ ንጉሰ ነገስት የነበሩት አጼ ዮሐንስ በጦርነት ይገደሉና፣ አጼ ምንሊክም የኢትዮጵያ ንጉሰ ነገስት ሆነው ይሰየማሉ። አዲስ አበባም ባልተጠበቀ ሁኔታ ከተቆረቆረች በሶስተኛ አመቷ የማዕከላዊው መንግስት መቀመጫና የአገሪቷ መዲና ለመሆን ትበቃለች። በተጨማሪም ይህ የአዲስ አበባ ጥንታዊ አሰፋፈር በሳይንሳዊ አጠራሩ መሪ ፕላን ተብሎ የሚታወቅ ሲሆን፣ በኢትዮጵያውያን ጠንሳሽነት፣ ዕሳቤ እና ዕቅድ ተቃኝቶ ስለተነደፈ፣ ከተማዋ በአፍሪካ እንዲሁም በመካከለኛው ምስራቅ ካሉ ትላልቅ ከተሞች የተለየችና የራሷ የሆነ ልዩ ባህሪያት እንዲኖራት እንዳስቻለ የተለያዩ ምሁራን ይገልጻሉ። ይህ በእንዲህ እንዳለ፣ የአውሮፓ ሀያላን መንግስታት በጀርመኗ ከተማ በርሊን በመሰባሰብ “ስክራምብል ፎር አፍሪካ” በመባል የሚታወቀውን ኮንፈረንስ ያካሄዱበት እና ወራት የቆየ ምክክር በማድረግ፣ የአፍሪካን መልከአምድር ከታትፈው የተመዳደቡበት እንዲሁም ቅኝ ለመግዛት አህጉሪቷን የወረሩበት ወቅት ነበር። በዚህ ክፍፍልም ኢትዮጵያ የቅኝ ግዛቱ ስልቻ ውስጥ ትወድቅና በጥንታዊቷ የአውሮፓ ሀገር ጣልያን ሉአላዊነቷ እና ዳር ድንበሯ ይደፈራል።

አዲስአበባእናአድዋ ያልተዘከረው የሁለቱ ከተሞች ታሪካዊ ቁርኝት

ህላዊ ሰውነት በሻህ (አርኪቴክት) 14

የሀገርን ድንበር መከላከል አማራጭ የማይሰጠው የማንኛውም መንግስት ሀላፊነትና ግዴታ በመሆኑ ንጉሰ ነገስቱ የክተት አዋጅ ከአዲስ አበባ ያሰማሉ። በሺዎች የሚቆጠሩ የኢትዮጵያ ጀግና ልጆችም ከየአቅጣጫው ወደሰሜኑ የኢትዮጵያ ክፍል በመዝመት በአድዋ ተራሮች ላይ የጣሊያን ጦርን ድባቅ መተው ድል ይጎናጸፋሉ፤ አገራቸውንም ከቅኝ ግዛት ቀንበር በደምና በአጥንታቸው ይታደጋሉ። ይህ የአድዋ ድልም በዓለም ታሪክ፣

ጥቁር ህዝቦች ለመጀመሪያ ጊዜ የአውሮፓን ሀያል ጦር ድል የመቱበት ተምሳሌትና በቀጣይም በአለም አቀፍ ደረጃ ለመጡ የነጻነት ትግሎች ትልቅ መሰረት እና ተስፋ የጣለ ታሪካዊ ክስተት ይሆናል። በድሉ ማግስትም በወቅቱ የአለም ሀያላን የተባሉት ሀገረ መንግስታት፣ እንግሊዝ፣ ሩስያ፣ ጀርመን እና ፈረንሳይ እንዲሁም ኢትዮጵያ ላይ ወረራ አድርጋ ቅኝ ልትገዛት የነበረችው ጣሊያንም ሳትቀር፣ ለኢትዮጵያ ሉአላዊነት እውቅና በመስጠት አንድ አመት ባልሞላ ጊዜ ውስጥ ሚስዮኖቻቸውን ወደ መዲናዋ አዲስ አበባ በመላክ ኤምባሲዎቻቸውን መክፈት ይጀምራሉ። ይህንንም ተከትሎ የውጭ አገር ዜጎች ከየሀገሩ ወደአዲስ አበባ ይፈልሳሉ። በተለያዩ የልማት፣ የግንባታ እና የንግድ ስራዎች በመሰማራትም ለከተማዋ እድገት እንዲሁም ቅርጽና ይዘት ቀላል የማይባል አስተዋጽዖ ያበረክታሉ። ወደ መዲናዋ ከገቡት ዋና ዋና ከሚባሉት የውጭ ማህበረሰብ ክፍሎች ውስጥ ግሪኮች፤ አረቦች፣ ህንዶች እና አርመኖች የአንበሳ ድርሻውን ይይዛሉ። ግሪኮቹ በድንጋይ ካባ፣ በመጠጥ ንግድ፣ በጫማ ስራ፣ የቴሌግራፍ ቢሮ ውስጥ፣ በኪነ ሕንጻ፣ በግሮሰሪ፣ ካፌ፣ ሬስቶራንት፣ ጸጉር ቤት እና ልብስ ስፌት የተሰማሩ ሲሆን፣አረቦቹ ደግሞ በአብዛኛው በእጣን ኤክስፖርትና በግመል ትራንስፖርት እንዲሁም የቁራንና የተለያዩ ሀይማኖታዊ ቁሶች ንግድ ላይ ተሰማርተው ነበር። በተመሳሳይ ህንዶቹ፣በግንባታ፣ በቅርጻቅርጽ፣ በልብስ ስፌት፣ ጸጉር ቤትና የወርቅና የብር ሙያ ስራዎች ላይ ይሰማሩ የነበር ሲሆን፣አርመኖቹ ደግሞ በወርቅ ስራ፣ በመጠጥ ንግድ እንዲሁም በቤተመንግስት ውስጥ በምህንድስናና በተለያዩ የሜካኒክ ሙያን የሚጠይቁ ቁሳ ቁሶች ጥገና ላይ ጥበባቸውን አሳርፈዋል። በተጨማሪም የተማረኩት የጣልያን ወታደሮች ወደ አዲስ አበባ እንዲመጡ ይደረግና የተለያዩ የልማት ስራዎች ላይ እንዲሳተፉ ይደረጋል። የአዲስ አበባ ዕድል ፈንታ እንዳይቀየር ሆኖ መሰረት ይተክላል። ከተማዋ ከተመሰረተች አስራ ስምንት አመት እንዳስቆጠረች፣ ምዕራባውያኑ የከረመ ልማድ አይለቅ እንደዘበት እንደሚሉት የአድዋ ድል ከተከሰተ አስር አመት ሳይሞላ፣ ምንሊክ ሌላ ቦታ ለመስፈር እና

updates

ለአስተዳደራቸው አዲስ ከተማን ለመቆርቆር በማሰብ ቤተመንግስት ከአዲስ አበባ በስተምዕራብ 40 ኪሎ ሜትር ርቀት ላይ በምትገኘው አዲስ አለም ላይ ያስገነባሉ። ነገር ግን ይህን የንጉሱን ሀሳብ ልብ ያላሉት አንድ ከባድ ተግዳሮት ይገጥመዋል። ለካ አጼ ምንሊክ የዘነጉት አዲስ አበባ ከሃያ አመት በፊት ሲመሰርቷት የሚያውቋት ትንሽዬ መንደር ሳትሆን፣ አሁን በአገሪቷ ከሚገኙት ትልልቅ ከተሞች ተርታ የተሰለፈች፣የተለያዩ ሰፈሮች ለምተውባት ብዙ ኢትዮጵያውያንን እና የውጭ አገር ዜጎችን የምታኖር፣ እንዲሁም በርካታ የሚባሉ የንግድ ቤቶችን የያዘችን የአገሪቷ ኢኮኖሚ የሚዘዋወርባት ትልቋ ቀጠና መሆኗን ነበር። ይህም ጉዳይ እየተበራከተ በመጣውና በተለያዩ የንግድ እና የማህበራዊ አገልግሎት ስራ መስኮች ላይ በተሰማራው የከተማዋ ነዋሪ ዘንድ ይሰማና፣ በአብዛኛው ከሁሉም የኢትዮጵያ ክፍሎችና ከውጭ ሀገራት በመምጣት ሀብትና ንብረት አፍርቶ እየኖረ የነበረው የአዲስ አበባ ነዋሪ ላይ ቅሬታ ይፈጥራል። እንደሚጠበቀውም ቅሬታው ወደ ንጉሱ ጆሮ ሳይደርስ አልቀረምና፣ አጼ ምንሊክ ወደ አዲስ አለም መናገሻቸውን የማዘዋወር ሀሳባቸውን እንደተዉት በታሪክ ምሁራን ይነገራል። ለመጨረሻ ጊዜም አዲስ አበባ የአገሪቱ ዋና ከተማ ሆና የመቀጠል ፈተናዋን ታልፍና፣ ከግማሽ ምዕተ አመት በኋላ፣የአፍሪካ የፖለቲካና የዲፕሎማሲ ዋና መዲና ለመሆን ያበቃትን የአፍሪካ ህብረት መቀመጫነቷን እንድትጎናጸፍ ያ የአድዋ ድል ትልቅ መሰረት ጥሎ አልፏል። ለዚህም ነው የአድዋ ድል ባይከሰት እና በድሉ ማግስት የአዲስ አበባ ስነሕዝባዊ፣ ኢኮኖሚያዊና ማህበራዊ ቅንብር አገራዊና አለም አቀፋዊ ይዘት ባይዝ፣ በተጨማሪም ይህን ተከትሎ አዲስ አበባ ፈጣን የሆነ የከተማ እድገት ባታስተናግድ ኖሮ፣ ንጉሰ ነገስቱ ሌላ ከተማ፡ ሂደው የመስፈር እድላቸው ከፍተኛ ይሆን ነበር፤ አዲስ አበባም አሁን ላለችበት ትሩፋትና ማንነት ላትበቃ ትችል ነበር፤እንዲሁም የአድዋ ድል ለአዲስ አበባ አሁናዊ ማንነት የማይተካ አሻራውን ጥሎ ሄዷል የምለው። እንግዲህ ምን ይባላል? ውለታ መላሽ ያድርጋት ነው እንጂ! @HelawiSewnet Helawi.sewnet@gmail.com

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#steel Price of reinforcement bar exhibited a 50 percent upsurge within just a month due to foreign currency shortage induced supply shortage.

Most re-bar retail stores experienced shortage after the partial closure of metal factories that are facing shortage of inputs due to the forex crunch.

“The price of rebar is escalating every day, while there is a dearth in supply,” said Gizachew Alemu, an owner of rebar and metal retail Shop. “Even though the forex shortage largely contributed to the supply gap, hoarding practices of retailers and wholesalers had its share,” he assessed.

A kilogram of re-bar is being sold for 56 birr, up from 37 birr a month ago. Specifically, a 4.5kg re-bar with eight millimeter width now costs 40 birr, while a 42Kg re-bar with 24mm diameter has increasedby twenty birr a kilogram to 97.70 birr.

Source: thereporterethiopia.com 16

#100 Years of Branding Addis Ababa has revisited the timeless symbols and logos of its organizations, companies, and leaders from 100 years ago in an exceptional exhibition presented

by Efrem Beyene at Hilton Addis Ababa.

A collection of twenty-eight logotypes and symbols were presented at the exhibition which were interestingly printed /stitched on a textile bag seemingly ready to be part of our day-to-day clothing and fashion choice.

According to the exhibitor, Efrem Beyen, the exhibition was inspired a while back after discovering the initial Hilton Addis Ababa’s logotype posted on windows of one of the rooms he stayed at, designed fifty-one years ago in connection with the hotel’s opening in 1969.

The exhibition was open to visitors for one month from the 15th of January to 15th February 2021.

Image: Himick, Ketema Journal

Land Bank and Development #habesha depot Habesha Cement S.Co. has inaugurated first of its type sales depot on the 23rd of January 2021 as part of its sustainable development and customer centric approach introduced within the first year of its new leadership.

The opening of this new depot and the decision to move from indirect to direct sales will promise a consistent supply and regulated price of the product while maintaining a better relationship with the customer, according to the new CEO. The company has doubled its capacity utilization with in the past year by setting a clear direction to run the company by local professionals at high managerial level of operations in the plant.

The depot will provide a minimum of 50qnt and a maximum of 200qnt on a single purchase for customers fulfilling the preconditions of the sales. For more info please visit their depot located at Jacros behind Meta Beer.

Image: Himick, Ketema Journal news

The newly established Land Bank and Development Corporation has issued expression of interest to secure a concept design for the development of landholdings by federal government offices.

The competition will be launched for the redevelopment of federal landholdings in Addis Ababa located along the “Bole to Entoto” and “Lagar to city hall” strip.

Branded as Revamping Sheger, the concept design competition will be launched a week later, according to the Corporation, which became operational last year in order to develop, administer and manage federal government landholdings.

The Corporation has selected five hubs, which the investment project will be implemented.

Source: thereporterethiopia.com 17

#land invasion since 1997 tutions and 64 neighborhoods containing 79,000 houses with an estimated 200,000 inhabitants.

are completed and rented for use and the majority of theme are still under construction.

So, what does 13M square me te r s o f land me an interms of large public spaces we can relate to?

Until now less than 1% out of the 13M has been returned to the city land bank excluding those occupied by religious insti-

The study has further brought to light a total of 332 buildings located at different parts of the city including Yeka, Nifas Silk Lafto, Kolfe, Bole, and Akaki subcities with no legitimate owners built on 229,556m2 of land with out acquiring legal title deed, building permit nor any special right.

Some of these buildings

13 Million Sq meters of land is 722 times the total area of Mesqel Square which is about 18,000 m2

13 Million Sq meters of land is 478 times the total area of Addis Ababa Stadium which is about 27,500m2

13 Million Sq meters of land is 46 times the total area of Jan Meda which is about 283,559m2

722

478

46

According to the deputy mayor of Addis Ababa, in the past 15 years, until 2012 E.C the city has lost over 13,000,000 square meters or 13 square kilometers of land to illegal invasions in 88 of the 121 weredas.

Which is almost a million square meters of land invasion every year.

Mesqel Squares

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Stadiums

Based on the findings of the city administration in collaboration with Kotebe Metropolitan University, we have tried to put it in contrast with three major landmark spaces of the city.

Jan Medas

#condominiums The city administration has carried out another study on condominium housings in collaboration with researchers from Kotebe Metropolitan University.

The study has revealed a number of shocking facts on 177,000 units that were constructed and handed over to thousands of individuals backed with figures that are unbelievably incongruent with the official statistics of the Federal Housing Development Corporation.

Total number of houses constructed and transferred.

173,000 actually built & transferred houses, 2.3% missing.

3,000 houses or 2.3% are missing or not built at all

132,000 or 76% of the houses are not occupied by initial owners

32,000 or 18.5% of owners posses illegal title deed

15,891 or 9.2% of houses were illegally acquired

4,530 or 2.6% of houses were illegally occupied but abandoned recently

850 housing units are vacant or not transfered at all

424 housing units were illegally broken into

news

#geothermal The first public private partnership geothermal project, Tulu Moye Geothermal Operation /TMGO/, started drilling its second site for the Tulu Moye Geothermal Project at Tulu Moye volcano in the Arsi Zone of Oromia Region, in Iteya District.

The project which has three drilling phases to produce 150 MW by 2025 is one of the first independent energy companies in Ethiopia to kick off its first drilling on 4th of March 2020 and completed drilling in November down to 1354 m under the surface.

As indicated by the officers the plan was to drill 3000 meter under the surface, though the gain was more than expected.

On March 31, 2020, TMGO signed the power purchase and implementation agreement with Ethiopian Electric Power, Ministry of Finance a n d M i n i s t r y o f Wa t e r, Irrigation and Electricity.

Source: capital 19

The term ‘Lamba’ is used for a traditional and primitive way of lighting system which is dominantly used around the rural areas of Ethiopia. The lighting system is natural gas based and contained in a bottle with a string immersed in the gas. It is one of the oldest lighting technique that inspired our startup, Lamba Studios. Lamba studios took its first steps in product designs by creating lighting fixtures and lampshades from easily available materials which aligned with the brand name “Lamba”. The concept and ideation of Lamba is highly dependent on trial & error experiment process with prototypes as its end result.

January 1st 2016 was a monumental day for Lamba Studios as it held the first experimental showcase event at Morning Star Mall. The event served as an expose of the experimental phase of the studio. We presented various experimentations that were done at Lamba Studios for over a year. Different shapes, geometries patterns, textures, light and shadow as well as nature were covered in the experiment which in the end captured inspirations which gave rise to the lighting fixtures.

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In this experimental process one of the conceptual product that stood out was the lampshade designed in the form of the sun with its rays protruding out.

The product aimed at experimenting with light and shadow that is coming out of a tunneled and chamfered pipes. This was constructed from paper rollers which are readily available, durable, and recyclable materials.

Stacking the chamfered cylinders was the interesting part of the whole concept of the product.

The spherical stack created a sun like figure especially when light went into the individual pieces. The sun product was made of recycled papers and was one of our pioneer experiments, as it portrayed process and detailing. The first exhibition was done in such an experimental way, to convey Ethiopian tradition, culture, and locally available materials.

Currently Lamba is engaged in various sectors such as product design, industrial prototypes, and community based functional units. The studio also designs and crafts home elements such as lightings, succulent vases, wall arts, fabric based curtains, pillow cases, light stands, simple furnitures and wall mount fixtures. As lighting is the primary focus of the studio, it currently is engaged in creating home lighting elements such as lampshades, corner stands and bed side lamps. These products aim to create a cozy and warm living space with interesting shadows. The studio also produces cutleries such as plates and bowls which are mostly made of clay.

Lamba studios is also known for its wooden coasters which have successfully sold out at various retail stores. These coasters are designed in different sizes and shapes. Apart from these designs custom orders which aim to promote Ethiopian culture and language such as names and Amharic alphabets are engraved based on requests from customers. Aside from product designs Photography is another service provided by Lamba Studios where different faces of Ethiopia is captured by the photography department which are sold to different businesses such as real estates and office complexes.

Lamba Studios is currently supplying its products to a number of prominent individuals and businesses across the country. The studio is currently working with the renowned Chef Yohanis for his culinary set up for his restaurant projects. Moreover Safeway supermarket is also one of our retail store partner while Lamba studios also has E-commerce store at Helloo Market, Ethiopia.

In the future, Lamba studios aims to open a worldwide retail store in order to sell Ethiopian artifacts and contemporary home elements that define the culture and traditions of the country.

This is the vision it plans to achieve in the coming decade. spotlight

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museum Article > Betelhem A. Kidane

IMAGE COURTESY OF: MICHAEL TEMTEME

ል አደባባይ ካር

ልደታ Lideta

መ

M er

ka to

ርካ ቶ

Zoma

Lideta

ልደታ

K a rl P la tz

ዞ አቦ ማ ሪያ

ቫቲካን ኤምባሲ Vatican Embassy Abo

M a z o ri a

ኪን አደባባይ ፑሽ

Pu

አፍሪካ ህብረት

African Union s h kin S q u are

አደ ክሲኮ ባባይ ሜ

መስቀል አደባባይ Mesqel Square

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e xic

o Squa

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“ZOMA MUSEUM is a dream inspired 25 years ago by the timeless and structurally sound vernacular architecture of Ethiopia and other parts of the world. It is named after Zoma Shiferraw, a young artist who died of cancer in 1979.

The museum acts as a bridge between artists and architects from around the world to create cutting-edge ecological art and architecture. In this context, Zoma Museum is built using ancient yet still existing construction techniques. The building materials include mud, straw, stone, wood, and cement.”

I recently had the distinct pleasure of attending the inauguration of the first of many bridges made in collaboration with The Italian Culture Institute and Zoma museum, where I met the Co-founder Meskerem, an anthropologist and curator of art. The bridge was designed by Eugenio Tibaldi, who is responsible for the whimsical design executed by Elmi Olindo Contractors.

This bridge symbolizes and celebrates connection with the ones around us and the child in us all. This collaboration named Anthropogenic connections is inspired by the constant but conflictual interaction of the city and nature. The project includes a collection of drawings that are the outcome of Tibaldi’s journey and observation of Addis Ababa. But my first visit to Zoma was a few weeks before that, where I met the ever-so-charming project manager, Benedetta (Bene).

To get to Zoma I had to pass through ‘old Addis Ababa; buildings reminding me of a time I had never known yet somehow assure me of its existence. I took a taxi from Mexico to the direction the map on 24

IMAGE COURTESY OF: HIMICK

my phone directed me. When I got to my destination, the first thing I noticed was the gentle slope in the landscape, I felt the land leap forwards, giddying my walking with the rushed clacking sound of my shoes.

“Meskerem and Elias set out to build a place like Zoma initially with the idea of creating a space where they could showcase the beauty and sustainability of traditional vernacular architecture techniques, this is why you see mud constructions, dried stacks of retaining walls, the whole idea was to find a place where, first of all, this knowledge be preserved and passed on since we are rapidly going into new modern design and construction techniques. Secondly, to showcase the concept of conservation yet not just for the sake of conservation but for the sustainable intrinsic properties that these techniques have but are overlooked. Last but not least, The beauty and malleability of these constructions, it was important for Meskerem and Elias to show the artistic values of this method and show that even though, in peoples’ imagination mud constructions could be quite humble, they can be artistic and stunning.” Described Benedetta, the project manager at Zoma Museum.

Before any construction took place, the two founders traveled across Ethiopia conducting an extensive amount of research, trying to understand what works in certain environments and what doesn’t. So essentially, going into Zoma they had a bulk of data backing them up. Eventually what they have done is, they collaborated with workers from all across the country to come here and to use this beautiful technique; the incredible contemporary artist and co-founder Elias Sime had a key role in giving the aesthetic imprint of these buildings, at the same time he has trained the workers to use these artistic techniques in their ventures. How to sculpt the mud, how to mold it, he has taught them everything.

Concerning the garden, it’s certainly hundreds and the garden is extremely varied, there was the conscious decision to focus on edible and medicinal plants. So, Zoma’s garden is supposed to be a garden that feeds people, nourishes them, it’s not just a beautiful rose garden that caters to the eye.

The product of the effort is used in the restaurant and eventually sold in the produce market. In my question about their use

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IMAGE COURTESY OF: MICHAEL TEMTEME

of agricultural methods, Benedetta answered, “We only use organic agricultural methods, we don’t use any artificial fertilizers or pesticides. We use a former agricultural technique called Companion planting, which means that we plant different crops in proximity for reasons such as, pest control, pollination, providing habitat for beneficial insects, maximizing use of space, and to otherwise increase crop productivity. This mutual collaboration is what is in the heart of Zoma so it reflects our philosophy. For Irrigation we use gravitational irrigation; the decision to keep the natural slope of the land was made to take advantage of that slope for water to sort of trickle-down and filter through the whole compound, and we have different channels that provide sufficient water for the plants with the aid of our gardeners.”

Zoma isn’t just a museum and a garden, it consists of a school containing kindergarten and primary school, with an integrated teaching system method, namely the Montessorie method, inspired

by Maria Montessori’s work in scientific pedagogy, which focuses on mixed-age classrooms. This allows the children to learn from one another and experience a peer-to-peer process of learning as opposed to a teacher talking down to them. This method not only allows the younger kids to aspire to the level of the older ones but also teaches the older kids a sense of responsibility. The curriculum also varies from other schools in our linguistic classes; providing Geez, Amharic, and sign language, including gardening and primary cooking classes, and the idea behind this is to engage and stimulate children in their education.

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Afterward, I invited myself into the massive garden with my little green notebook, noting every detail that would help me capture or at least summarize the experience of Zoma. The architecture of the buildings expressed the Zeitgeist of Ethiopian design while being set apart with its originality. Although Zoma provided the gesture of tradition and vernacularity, it is also mentioning the hazards of this modern age and the detachment of humanity and nature, because the ambivalence I felt made me question what one needs to enjoy in life, and I found that nature in its NATURE has quite the room to wander in for the questions in hand.

I left with an acute sense of contentment, a sense of leisurely quietude I somehow have felt I’ve earned. I will leave an extract from Walt Whitman’s Song of Myself: Leaves of Grass to do my dirty work, A child said What is the grass? Fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he.

I guess it must be the flag of my disposition, out of hopeful green stuff woven.

Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly drop, Bearing the owner’s name someway in the corners, that we may see and remark, and say Whose?

Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, And now it seems to me the beautiful uncut hair of graves.

IMAGE COURTESY OF: MICHAEL TEMTEME

‘‘It is named after Zoma Shiferraw, a young artist who died of cancer in 1979.’’

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IMAGE COURTESY OF: MICHAEL TEMTEME

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#ስለ፡ ባቡር በአዲስ አበባ የሰርኪስ ባቡር ተሰናክሎ ቆሞ ነበር። በቆመበት ቦታም ሰባራ ባቡር ተብሎ እስካሁን ድረስ ይጠራል። በዚህም ምክያት እንዲህ እየተባለ ይገጠም ነበር። ብነግርሽ ብነግርሽ አታጠናቅሪ፤ እንደ ሰርኪስ ባቡር ተገትረሽ ቅሪ። ካየሁት ከሰማሁት፤ መርስዔ ኅዘን ወልደ ቂርቆስ #ስለ፡ ድልድይ የራስ መኮንን ድልድይ መኪና በማሻገር የመጀመሪያው ድልድይ ሲሆን በድልድይነት ደግሞ ለአዲስ አበባ ሁለተኛው ነው፡፡ የመጀመሪያው የአድዋ ድልድይ ነው፡፡ ዝክረ አዲስ አበባ ሰለሞን ማሞ ውቤ (ዶ/ር) #ስለ፡ የህዝብ ማጓጓዣ መኪና በኢትዮጵያ የመጀመሪያው የህዝብ ማጓጓዣ አዲስ አበባ ከተማ ውስጥ የተቋቋመው በ1935ዓ.ም ነው፡፡ የተጀመረውም ጣልያኖች ትተዋቸው በሄዱት አምስት አሮጌ የወታደር የጭነት መኪናዎች አማካኝነት ነበር፡፡ ዝክረ አዲስ አበባ ሰለሞን ማሞ ውቤ (ዶ/ር) #ስለ፡ ትራፊክ መብራት ከ1960ዓ.ም ጀምሮ የትራፊክ መብራት ወደ ኢትዮጵያ ገባ፡፡ (ይህም ማለት የትራፊክ መብራት መጠቀም ከጀመርን 53 አመታት ተቆጥርዋል።) ዝክረ አዲስ አበባ ሰለሞን ማሞ ውቤ (ዶ/ር)

መ ነ ፅ ር፤ 34

#ስለ : ትራፊክ ፖሊስ የመጀመሪያዋ መኪና አዲስ አበባ ከገባች ከ25 ዓመታት በኃላ በካሳ ገብሬ አማካኝነት የአውቶሞቢል ዘበኛ ወይም የትራፊክ ፖሊስ

ተመሰረተ፡፡ ከ15 ቀናት ትምህርታዊ ገለፃ በኃላ የትራፊክ ፓሊሶች ስራቸውን ጀመሩ፡፡ ዝክረ አዲስ አበባ ሰለሞን ማሞ ውቤ (ዶ/ር) #ስለ፡ ከተማ ሰላም በአዲስ አበባ ውስጥ የጠመንጃ ድምፅ መስማት የሚያጓጓ ነበር፡፡ በድንገት ባርቆ ወይም በሠርግ፣ ወይም ልጅ በመውለድ ደስታ ምክንያት የተተኮሰ እንደሆነ 37 ብር ተሩብ መቀጫ መክፈል ግዴታ ነበር፡፡ ይምጡ በዝና አዲስ አበባ ያሬድ ገ/ሚካኤል #ስለ፡ አዳሪ ትምህርት ቤት በተፈሪ መኮንን ትምህርት ቤት የነበረው ምቾት አልጋው፣ ፍራሹ፣ ብርድልብሱ፣ ገላ መታጠቢያው፣ የነጭ ጤፍ እንጀራ እየተበላ ብርዝ እየተጠጣ ነበር፡፡ (ግሩም አሉ አባ አድማስ...አዳሪ ትምህርት ቤት እንዲህ ሲታወስ ያስገርማል) ይምጡ በዝና አዲስ አበባ ያሬድ ገ/ሚካኤል # ስለ፡ አዲስ አበባ የአዲስ አበባ ከተማ በያመቱ የመስፋፋት ዕድል እያገኘች ስትሄድ፤ ጎጆ ቀልሶም ማከራየት ሲለመድ የየጠቅላይ ግዛቱ ነዋሪ ሕዝብም ከአለቃ እስከ ጭፍራው ድረስ አዲስ አበባን መጥቶ ለማየት ከፍ ያለ ወጭ የሚጠይቅ መሆኑን እየተገነዘበ ከመምጣቱ አስቀድሞ ገንዘብ አጠራቅሞ ነበር እንጂ ከፍ ያለ ድርጅት ሳያደርግ ወደ ከተማ የሚመጣ ሰው አልነበረም፡፡ (አሁን አዲስ አበባ ለመግባት ከአንደ ባላገር ሰው ምን ይጠበቅ ይሆን? ካለፈው ይቀል ወቅስ ይከብድ?) ይምጡ በዝና አዲስ አበባ ያሬድ ገ/ሚካኤል spotlight

መነፅር ፤

‘ከታሪክ ይሉኝታ ባሻገር’ የባዕድ ስርዓተ ትምህርት ተፅዕኖ አስተያየቶቻችንን ከከፊል ባለፈ ወደ ምዕራባውያን ሊቆች እንድናዞር እና ስለተለያዩ ርዕሰ ጉዳዮች ስናነሳ የምንጠቅሳቸው ሰዎች ወደዚያውም በኃይል እንዲያደላ፣ ወዲያውም ሂደቱ ሳይነቀፍ እንዳይታለፍ ሆኗል፡፡ በዚህም አካሄድ የሀገራችን ስነ ቃል ስሜትን በግጥም፣ በወግ፣ በቅኔ ፣ በእንካ ሰላንቲያ ፣ በእንቆቅልሽ ፣ በተረት፣ ወዘተ ከመዝለል ባለፈ ሳይንሳዊ ጥበብን የመግለፅ አቅሙ ደካማ እንዲመስለን ሆነ፡ ፡ ይህም በይበልጥ የሚያሰጋው የተለያዩ አገር በቀል ሳይንሳዊ ዕውቀቶች በየዘርፉ ሲኖሩ ነገር ግን ተመልሰን ለማጣቀስ በትምህርት ዘርፉም ሆነ በስራው ዘርፍ የተበረታታ አለመሆኑ ነው፡፡ መነፅር ከታሪካችን ሻገር ብሎ ያለይሉኝታ ሀሳብ፣ ጥበብ፣ ስሜትና ተሞክሮ ባገር ቋንቋ ባገር ልጆች እንዴት ይታያሉ? እንዴትስ ይቃኛሉ? ከተፃፉት ደግሞ አይለው፣ ገንነው እንዲሁ በአፍ የምናውቃቸው ስነ-ቃሎቻችንን ምን ይሉ ይሆን እያለ ለየርዕሰ ጉዳዩ ስለ፡____ በሚል ቅንጭብታ ከብዙ ጥቂቱን ይጠቅሳል፡፡ በዚህ ዕትም ስለ፡ “ከተማ “ ጊዜ ሰጥቶ ከተማ በኢትዮጵያውያን ምሁራን እንዴት ተተነተነ? ከተማ ምንድን ነው? ከተሜነትስ ምን ይሆን ?በምንስ ይገለፃል? የከተማ እድገት ምን ይመስላል ? ደራስያን በልቦለዶቻቸው የሳሉአቸው ከተማዎች ምን መልክ አላቸው ? የሚለውን ተመልክቶ ስለ ከተማ ምንነት ከራሳችን መነፅር ይዞ ቀርቧል፡፡ ተጋበዙልን!

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It has been almost six months since our last update on Mesqel square and rather noticeable progress has been made on the overall appearance of this prominent public space.

Mesqel Square

According to the project architect, majority of the work on the square is near completion.

We have noticed that the steps are being carefully put in place, shops and internal block works have also commenced. In addition, all supply and installation of electrical and firefighting systems are being completed.

The remaining upper floor slab at the right corner of the site will be casted in a few weeks of time.

> Wondyerad Mamo

The multi-functional and distinctive feature of the square, the steps, are designed to support standardized, diverse sporting, leisure and religious activities that the square is famous for.

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The amphitheater steps are now built to incorporate ergonomically sound details on the steps: including features for inclined & declined pushups, and triceps dips.

Another important aspect of this project is the 3.5km pedestrian development from Mesqel square all the way to the Addis Ababa City Hall. The architect noted that this is first of its scale urban intervention that attempts to make a readable pattern on one of the historically significant avenues of Addis Ababa. It aims to create public spaces from Piassa to Meskel square while activating the business corridors.

The goal is to rehabilitate Churchill as the middle-and upper-class interaction plaza once again by upgrading the environment through creation of well designed, clean and interactive public spaces. updates

Accordingly, pedestrian roads as wide as 10m length are being paved. Parking buildings around Tewodros roundabout are being built and green spaces are sufficiently being incorporated in the project.

Parking buildings are utilitarian by design.

We feel such infrastructure should be complemented with commercial activities to avoid miss use or abandonment as such functions are relatively new to our context.

Though cutting through the storefronts of Churchill avenue to provide arcades and avert demolition is commendable, we wish to stress on seamless integration of the street with the buildings to guarantee an uninterrupted flow of pedestrians up and down the steep slopes of the avenue.

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38

Anthropogenic

Connections

EugenioTibaldi competitions

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05 Masonry

04 Formwork

03 Rebar

02 Cement

01 Earthwork

Earthwork and Related

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suppliers

Mt

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Fi

10 Finishing

supplier lis

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አንትሮፖሎጄኒክ ኮኔክሽን (Anthropologic Connection) የተባለው የመጀመርያውን ድልድይ የሰራው የጣሊያን ተወላጅ በሆነው የዘመናዊ የስነ ጥበብ ባለሞያ፣ በዩጂኒዮ ቲባልዲ (Eugenio Tibaldi) ነው። የድልድዩ አሰራር ሃሳብ የፈነጨው ዩጂኒዮ በአዲስ አበባን በአካል የተለያዩ ቦታዎን ተዘዋውሮ ባካበታጨው በአካል ተዘዋውሮ በ በእውቀት እና በአካላዊ ጉዞ የተመሰረተ እውቀት ነው። ኤግዝቢሽኑ በአለም አቀፍ ወረርሽኝ አመት ውስጥ ሊካሄድ ያልቻለ እና በከፊል ሳይታይ የሚቆይ ይሆናል። ይህን አንትሮፖሎጄኒክ ኮኔክሽን የተባለውን ድልድይ ለመስራት እንዲረዱት የስነጠቡ ባለሞያ የተለያዩ ስእሎችን ልክ እንደ ሀርበርየም (Herbarium) ማለትም እንደ ጉዞ ማስታወሻ እና በስእል የተደገፉ የተለያዩ እጽዋት ሰተዶችን ያዘጋጀው ሆን ብሎ በዞማ ቤተመዘክር ግቢ ለተመረጠው ቦታ እንዲሆን ያዘጋጀው ነው። በአዲስ አበባ የሚገኘው የጣሊያን ባህል ተቋም እና በዞማ ቤተ መዘክር ጋባዥነት፣ ቲባልዲ ለመጀመሪያ ጊዜ

እ.ኤ.አ በመስከረም ወር 2019 የኢትዮጵያ ዋና ከተማ መጥቶ በዞማ ቤተመዘክር በተቀናበረውን የአለማቀፍ ግንኙነትን የሚያጠናክር የድልድይ ግንባታ ፕሮግራም ላይ ሊሳተፍ መጣ። የዚህም ድልድይ ዋና አላማው የተለያዩ የስነ ጥባብ ወይም የስነ ግንባታ ባለሞያዎች ጥበባዊ እና ቋሚ የሆኑ ድልድዮችን እንተምሳሌት እንዲሰሩት ነው። ቲብልዲ በከተማ ማህበራዊ ተለዋዋጭነት ላይ ያለው ፍላጎት ከተማዋን ያገኘበት ሂደት ብዙም ሳይቆይ በአዲስ አበባ ውስጥ በተፈጥሮ እና ተገነባው አካባቢ መካከል ያለውን ግንኙነት ለመለየት አስችሎታል። ይህም የሰራው ጽንሰ ሃሳብ ነው። በአንትሮፖሎጄኒክ ኸርባሪየም ውስጥ ያሉ ሰራዎች በከተማ ውስጥ በዕፅዋትና በስነ-ህንፃ መካከል ባለው የማቋርጥ ግን ግጭታዊ መስተጋብሮች ላይ ተመስረተው የተሰሩ ናቸው። ስራዎቹም ማስታረቅ የማይቻል እና በሁለቱም መካከል ሊወገድ የማይችል ንጽጽርን ይተርካሉ፤ አንትሮፖሎጄኒክ ድልድይም ከወዳደቀ በረት፣ ፕላስቲክ እና ጎማዎች የተሰሩ የዕፅዋት አካላት ጋር ያለው ግንኙነትም እንዲሁ። የአዲስ አበባ አንዳንድ ጊዜ ግራ የሚያጋባ የከተማ 42

አካባቢም በፕሮጀክቱ ላይ ከፍተኛ ተፅዕኖ ያለው ነበር፤ ይህም የቲባልዲን የካርታዎች አጠቃቀም እና የድልድይ ዲዛይን ላይ ተንፀባርቋል። አንትሮፖጄኒክ ድልድይ የቬኒስን ትዝታዎች ያስተላለፈ እና ህዝቡም ከፍ ወዳለ ዕይታ የሚወስድ ነው። ጎብኚዎች ከአንትሮፖሎጄኒክ ድልድይ ላይ ሆነው የዞማ ቤተ መዘክርን መልካ ምድር ለማየት ልዩ ዕድል ይፈጥራል። በተመልካቾች ዘንድ ተፈጥሮ እና ከተማ እንደገና ይገናኛሉ። የቲባልዲም ስራ ላይ የአዲስ አበባ የስነ-ህዝብ ስብጥር የሚንፀባረቅበት ሲሆን የመንሸራተቻው ጥቅም እንደ አንድ የአንትሮፖጄኒክ ድልድይ አላማ ህፃናቶችን እንዲስብ እና አዋቂዎችም በጨዋታው ላይ እንዲሳተፉ የታሰቦ የተሰራ ነው። በዚህ መንገድ ድልድዩ ለከተማው ወጣት ማህበረሰብና ላለው አቅም በማህበራዊ ለውጥ ላይ ያለውን አስተዋፃኦ እንደ ምሳሌነት ሊጠቀስ ችሏል።

የዞማ ቤተ መዘክር ድልድይ ሬዝደንሲ ፕሮግራም ዞማ ቤተ መዘክር በአትክልት ስፍራ ውስጥ የመስኖ ሰርጦችን የሚያቋርጡ ከአርባ በላይ ትናንሽ ጊዜያዊ ድልድዮች አሉት። የድልድዩ ሬዝደንሲ ፕሮግራም በአለም ዙሪያ ካሉ አርቲስቶች ጋር ትብብር በመፍጠር እነዚህን ጊዜያዊ እና አገልግሎት እየሰጡ ያሉትን ቅርጾች ቋሚ በሆኑ ጥበባዊ ድልድዮች እንዲቀይሩ ያለመ ሲሆን ይህም ከተለያዩ ሃገራቶች ጋር የተፈጠረውን የባህል ተስስር ማመላከቻ ይሆናል። አንትሮፖሎጄኒክ ድልድይ በዚህ ፕሮግራም ስር የተካተተ የመጀመሪያ ድልድይ ነው። ይህ ድልድይ የተገነባው በአዲስ አበባ የጣሊያን የባህል ኢንስቲትዩት ከኤልሚ ኦሊንዶ የኮንስትራክሽን ኩባንያ ጋር በመተባበር ባደረገው ድጋፍ ነው። የዚህ ጥበባዊ ፕሮጀክት ውጤት የሆነው አንትሮፖጄኒክ ግንኙነቶች በአድሪያና ሪስፖሊ “ኣንደር ዘ ስፔል ኦፍ አፍሪካ’’ በተባለው ፕሮግራም ስር ሲሆኑ በጣሊያን ውጪ ጉዳይ ሚኒስቴር ስፖንሰር ተደርጓል።

Anthropogenic Connections is the outcome of an intellectual and physical journey through Addis Ababa of the Italian contemporary artist Eugenio Tibaldi. An exhibition that could not take place in the year of a global pandemic, and will partly remain not shown.

pass, with steps that take the public to an elevated viewpoint. From the Anthropogenic Bridge, visitors access a privileged perspective of Zoma Museum’s garden, and a glimpse of the surrounding urban landscape. Natural and urban meet again in the eyes of the viewer.

The project includes a collection of drawings - Anthropogenic Herbarium - that, like a travel journal, document the artist’s steps towards the realization of a site-specific work at Zoma Museum: Anthropogenic Bridge.

Tibaldi’s work also contains an important reflection on Addis Ababa’s demographic composition: the use of a slide as one of the extremities of Anthropogenic Bridge is intended to attract children, and to challenge adults to engage in an act of play. In this way, the bridge makes a reference to the city’s young population, and their potential as agents of social change.

Invited by the Italian Cultural Institute in Addis Ababa and Zoma Museum, Tibaldi first visited Ethiopia’s capital in September 2019, where he was invited to participate in the Zoma’s Bridge Residency Program, to design a bridge - a permanent, walkable installation, symbol of connection and junction.

Tibaldi’s interest in urban social dynamics, and his process of discovery of the city, soon brought him to identify the relationship between the natural and the built environment in Addis Ababa, as the conceptual heart of the work.

The works in Anthropogenic Herbarium are inspired by the constant but conflictual interaction, in the city, between the botanical and the architectural. They tell a story of impossible reconciliation and inescapable contrast between the two.

So does the Anthropogenic Bridge, with its botanical elements of corrugated metal, plastic and tires.

Addis Ababa’s at times disorienting urban environment was also a powerful element of influence on the project, which finds expression in Tibaldi’s use of maps and bridge design: Anthropogenic Bridge is reminiscent of a venetian overcompetitions

ZOMA MUSEUM’S BRIDGE RESIDENCY PROGRAM

Zoma Museum has more than forty small, temporary bridges, crossing over irrigation channels, throughout its garden. The Bridge Residency Program is aimed at establishing collaborations with artists from around the world to replace these temporary, functional structures with permanent artistic bridges, symbols of creative relations between cultures of different nations.

A n - thropogenic Bridge is the first bridge realized under this program. It has been built thanks to the support of the Italian Cultural Institute in Addis Ababa, in collaboration with construction company Elmi Olindo & co. The resulting artistic project, Anthropogenic Connections, has been curated by Adriana Rispoli, as part of the program Under the Spell of Africa, sponsored by the Italian Ministry of Foreign Affairs.

The city of Addis Ababa it seems to me a huge bouquet made in after design, the attempt of harmony is left to the future.

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11 Paint 12 Sanitary 13 Electrical 14 Mechnanical 15 Security 44

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Glass

Cement Masonry Steel Profiles 46

Dangote OPC 525/Qnt PPC 530/Qnt Derba OPC 525/Qnt PPC 530/Qnt Ethio

OPC - - - /Qnt

PPC - - - /Qnt Habesha OPC 525/Qnt PPC 500/Qnt Muger OPC 510/Qnt PPC 520/Qnt

materials

Address: World Trade Center, S1305, South Tower Hunashidong Road, Guangzhou, China Ethiopia Address: Century Mall, 7th Floor, Gurd Sholla, Addis Ababa

TEL: +8615920595973 | +862087601004 | +251911202536 FAX: +862087650694 Email: admin@afrochinagroup.com Website: chinaafricatrade.com 47

materials

850/25kg Textura Sparol 825/gln Epoxy Primer 516/kg Epoxy Primer Hardener 1250/gln Epoxy Top Coat 470/kg Epoxy Top Coat Hardener 1400/gln Epoxy CLear Top Coat 1100/kg Epoxy CLear Top Coat Hardner 975/gln Epoxy Wall Paint 500/kg Epoxy Wall Paint Hardner 600/kg Epoxy Solid Color Paste

Wires 1*1.5 873/100m 1*2.5 1448/100m

1*4 2144/100m Cables 2*1.5 2576/100m

2*2.5 4042/100m 3*4 8434/100m TV 1100/100m Data 1508/100m Switches One-way 75/pcs Two-way 300/pcs

250/pcs 15/pcs 15/pcs 200/pcs 60/pcs 25/pcs 90/pcs 60/pcs 15/pcs 25/pcs

Sockets Ø65 90/pcs 6x10 250/pcs

TV Ø65 106/pcs 6x10 382/pcs

Data Ø65 333/pcs 6x10 470/pcs Distribution x 4 SDB 120/pcs x 6breaker SDB 150/pcs x 8breaker SDB 230/pcs x 12breaker SDB 280/pcs Breakers (1Ph) 6Amp 230/pcs 10Amp 196/pcs

16Amp 196/pcs 25Amp 196/pcs Breakers (3Ph) 6Amp 552/pcs 10Amp 518/pcs

16Amp 518/pcs 25Amp 518/pcs Conduits FØ16mm 10/pcs

RØ16mm 25/pcs

RØ19mm 25/pcs 48

PPRØ25 Pipe 3m PPRØ25 Socket PPRØ25 Elbow PPRØ25 Gate-valve PPRØ20 M - Adopter PPRØ25-20 Reducer PPRØ25 Bridge PPRØ25-20 F-Elbow PPRØ25 Tee Ø25 Nipple

110-230/pcs PVCØ50 Pipe 6m 15/pcs PVCØ50 Elbow-90° 25/pcs PVCØ50 Elbow-45° 150-250/pcs Ø20 Angle-valve 100-250/pcs Atakini 250/pcs 10x10 Floor Drain

230/kg Adhesive 25/pcs Teflon 100-300/pcs Silicone (4m) (Australia) Timber 140/pcs 5x4cm 160/pcs 5x7cm 400/pcs 5x10cm 1180/pcs 5x30cm (122x244) MDF 500/pcs 6mm 550/pcs 8mm 600/pcs 10mm 730/pcs 12mm 850/pcs 18mm

Finishing

Super Emulsion 213/gln Perfex Acrylic Emulsion 450/gln Weather Guard - Clear 650/gln Tuff Floor Emulsion 650/gln Textured Paints (Quartz)

Graffiti 1.8-2.5mm 620/25kg

Fine 0 - 1mm 620/25kg

Super Fine 0 - 0.5mm 750/25kg

Travertine 0 - 0.2mm 750/25kg Traffic Paint (Black/White) 875/gln

Sanitary

Granite Counter Top 300/ml Riser 300/ml Thread 300/ml Sill 300/ml Skirting Ceramic 275/ml PVC 35/ml Wood 300/ml Dry Board Gypsum 300/pcs Magnesium 300/pcs Cement 300/pcs

Carpentry

Finishing Paint - Abay Esdee Electrical

Porcelain Tile 30x30 450/m2 30x60 750/m2 60x60 750/m2 Parquet Bamboo 1400/m2 HDF 700/m2 PVC Tile 30x30 350/m2 Roll Marble White 300/ml Harar 300/ml Sill 300/ml

materials

Jelaram Esdee Manufacturing PLC

Gofa, Infront of Gaky Honda Showroom, Addis Ababa, Ethiopia

251 922 45 25 63 / 65 / 66 | 251 910 47 97 81 | 251 912 19 90 93

materials

info@abaypaints.com | www.abaypaints.com

49

GREE Split Wall AC

DAMA FILAMENT ST64 8W

A60 9W 3-in-One

EMERGENCY 9W 3000K

T-bulb 30W & 40W

FILAMENT ST64 8W

251 936 01 23 251 936 01 23 251 936 01 23

26 27 28

Floor Standing AC

Down Light 7W

Panel Light Round 18W

251 113 20 21 05 www.damatradegroup.com Addis Ababa, Ethiopia

Panel Light 300 x 600 24W

Panel Light 600 x 600 40W

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