Techo International Airport Listed among 11 Architecture Projects Set to Shape the World in 2025.

(AKP )

The Techo International Airport in Phnom Penh capital of the Kingdom of Cambodia stands out among the 11 architecture projects set to shape the world in 2025, according to the Cable News Network (CNN).

Cambodia is replacing its capital Phnom Penh’s international airport with one capable of handling six times as many visitors. Part of the country’s ambitious bid to boost tourism numbers and become a regional aviation hub, the new Techo International Airport’s initial capacity of 13 million annual passengers will eventually rise to 30 million.

The terminal building, located 12 miles (about 19 kilometres) south of the city centre, will be one of Southeast Asia’s largest. Plans to generate energy through an onsite solar farm also put it among the world’s greenest, according to architects Foster + Partners.

With a form inspired by traditional Cambodian design, the terminal’s main roof is supported by a series of structural timber “trees” (real trees will also rise through a large central void). Digital renderings show the structure’s gridded steel shell filtering daylight and illuminating an interior bursting with tropical greenery, while passengers will reach their gates via two airfoil-shaped wings.

Managed by Cambodia Airport Investment Co., Ltd., the project is a public-private partnership between Overseas Cambodia Investment Corporation (OCIC) with a 90 percent stake and the rest 10 percent stake belonging to the State Secretariat of Civil Aviation.

As a large-scale international airport level/Class 4F, built over 2,600 hectares of land, this airport is divided into three phases of construction, including Phase 1 from 2020 to 2030, Phase 2 from 2030 to 2050 and Phase 3 from 2050 onwards.

The Techo International Airport in the first phase will be capable of handling a maximum of 13 million passengers and 175,000 tonnes of cargo per year.

The other ten grand infrastructure projects are the New Sydney Fish Market in Sydney, Australia; the Grand Ring in Osaka, Japan; the Life and Mind Building in Oxford, the UK; Canadian School in Cholula, Mexico; the South Station redevelopment in Boston, the U.S.; Goethe-Institut in Dakar, Senegal; Urban Glen in Hangzhou, China; Riyadh Metro in Riyadh, Saudi Arabia; Skypark Business Centre in Luxembourg; and Danjiang Bridge in Taipei; Taiwan.

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Techo International Airport Listed among 11 Architecture Projects Set to Shape the World in 2025. (AKP)

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Upcoming Lecture: The EFEO Center in Siem Reap will be hosting a lecture on Thursday 2 January 2025, at 5.30pm, titled ‘Khmer Art at the Art Institute of Chicago: Rediscovering a Southeast Asian Legacy’. Nicolas Revire, who teaches in Bangkok, is a senior researcher of the Art Institute of Chicago museum, and will host the free-to-attend presentation in English. He recently played a major role in a pilaster of Krishna being returned to Thailand and the temple of Prasat Phnom Rung, from the museum. The Art Institute of Chicago is the second-largest art museum in the United States, after the Metropolitan Museum of Art in New York, with around 35,000 objects in their Asian section. The majority of their Khmer artifacts were donated by the ultra-wealthy husband and wife duo, James and Marilynn Alsdorf, two examples are shown here, while four more were scooped up by the museum directly from the EFEO in Cambodia in 1924.Credit By :Andy.brouwer

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Upcoming Lecture:

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Future Exhibition: Royal Bronzes of Angkor, an Art of the Divine Exhibition - at the Guimet Museum in Paris, France from 30 April – 8 September 2025. The Guimet Museum in Paris is dedicating the exhibition, Royal Bronzes of Angkor, an Art of the Divine, to bronze. The highlight of this exhibition is the statue of the reclining Vishnu from the Western Mebon - an 11th century sanctuary west of Angkor - found in 1936, which originally measured more than five meters in length. This national treasure of Cambodia will be exhibited for the first time with its long-separated fragments, after benefiting in 2024 from a campaign of scientific analysis and restoration in France, with the patronage of ALIPH. It will be accompanied by more than 200 works, including 126 exceptional loans from the National Museum of Cambodia, whose presence makes it possible to draw up a chronological journey of bronze art in Cambodia, from the 9th century to the present day, through a journey leading the visitor to the major sites of Khmer heritage. Angkor, capital of the Khmer Empire that dominated part of continental Southeast Asia for more than five centuries, has preserved from its past glory monumental remains of incomparable magnitude and beauty. But if the architecture of the temples of the Khmer Empire (9th-14th centuries) and the stone statues housed there have been celebrated many times, who remembers that these Buddhist and Brahmanic sanctuaries once preserved a whole population of divinities and objects of worship cast in precious metal: gold, silver, gilded bronze? A subtle and noble alloy notably combining copper, tin and lead, bronze has given birth in Cambodia to masterpieces of statuary testifying to the loyalty of the Khmer sovereigns to Hinduism as well as Buddhism. The prerogative of the king – whose know-how was carefully preserved in workshops near the Royal Palace – metallurgy was a sacred technique, whether in Angkor (11th - 12th centuries), Oudong (16th - 17th centuries) or Phnom Penh (19th - 20th centuries). For the first time, this exhibition-event considers the special role of the sovereign, the sponsor of large bronze castings, from the Angkorian period to the modern period, where, in an astonishing continuity, art and power have remained associated in this field more than in any other. The exceptional loans from the National Museum of Cambodia, granted by the Royal Government within the specific framework of the cooperation established between the Ministry of Culture and Fine Arts of Cambodia, the C2RMF (Centre for Research and Restoration of Museums of France), the EFEO (École française d’Extrême-Orient) and the Guimet Museum, bring together for the first time in the framework of this exceptional exhibition masterpieces (statuary, art objects or elements of architectural decor) as well as photographs, casts and graphic documents allowing these works of art to be placed in their cultural context, as well as in an archaeological and historical perspective. [Courtesy of the Guimet Museum website].Credit By :andy.brouwer

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Future Exhibition:

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The Brahma from Kutishvara: Returning to the topic of the god Brahma, a headless sculpture at the Angkor National Museum sent me on a field trip in June 2023, to the tenth century trio of brick towers of Kutishvara, located a few meters north of the Banteay Kdei north gate. My previous research had drawn a blank for this headless, four-armed statue before I was sent a picture from 1930, showing a statue of Brahma, in-situ, discovered by Henri Marchal and Henri Parmentier as they cleared the small temple. At that time, it looked almost complete, bereft of just the upper right hand and immediately identifiable as the four-faced god of creation, Brahma. It’s likely the temple’s three brick sanctuaries contained statues of the trio of gods, Brahma, Vishnu and Shiva, though the style of Brahma’s dress dates him to a couple of centuries later, to the late 12th century. Unfortunately, Brahma suffered a series of mishaps before and since his arrival at the Angkor Conservation Depot – the most serious of which was losing his head(s) to looters during the civil war period of the 1970s. The loss was included in the One Hundred Missing Objects: Looting in Angkor book published in 1993, but it remains one of the unsolved robberies of that era. In addition, the three hands holding attributes that were secured onto the statue when it was photographed in October 1930 have also disappeared over time, with just one remaining when it was pictured again in 1962. Now there are none. The most notable feature of the Brahma was the tower-like shared cylindrical chignon, with a ribbon of beads at its base, which sat on top of four smiling faces, each with their own diadem and pendant earrings. The simplistic fishtail fan-fold at the front of his pleated sampot with the wide belt, is the only other decoration on the sculpture, and identifies its creation during the Bayon art style period of Jayavarman VII. I visited Kutishvara and was more than pleased to see the circular pedestal, decorated with lotus flowers, remaining in the south tower, where our statue would’ve stood. Next to the broken brick structure was a lintel with Brahma sitting on a lotus at its center, surrounded above and to both sides by at least twenty praying adherents. Two pieces of irrefutable evidence of the statue’s original home.Credit By :Andy Brouwer

#Moha Nokor

The Brahma from Kutishvara:

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 Krama, Unforgetful Heritage from Cambodia..

Krama (or Kroma) 'ក្រមា' is a traditional Cambodian scarf made from cotton or silk, characterized by its checkered pattern, usually in red-and-white or blue-and-white. It is a symbol of Cambodian identity and cultural heritage, serving both practical and symbolic purposes in everyday life.

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History of Krama Fabric

1. Ancient Origins:

The origins of the krama can be traced back over a thousand years, linked to the weaving traditions of the Khmer people. Historical depictions of similar fabrics can be seen in bas-reliefs of ancient temples like Angkor Wat, suggesting that textiles were integral to Khmer culture.

2. Cultural Significance:

Krama weaving evolved through generations, becoming deeply embedded in Cambodian society. Traditionally, families would hand-weave krama for personal use or as offerings during religious ceremonies.

3. Symbol of National Identity:

The krama gained political and cultural significance in modern Cambodian history. During the Khmer Rouge era (1975-1979), the krama became a recognizable symbol, as the regime used it as part of the mandatory clothing for all citizens. Despite its dark association with this era, the krama has been reclaimed as a proud emblem of Cambodian heritage.

4. Modern Revival:

In recent years, the krama has experienced a revival, becoming a fashionable accessory while retaining its cultural essence. Cambodian artisans continue to hand-weave krama using traditional techniques, supporting local economies and preserving their heritage.

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Uses of Krama in Khmer way of Life

The krama is versatile and serves many purposes, including:

🏂🏼Clothing Accessory: As a scarf, head covering, or belt.

🧕🏼Protective Gear: To shield from the sun, dust, or cold.

👼🏻Practical Tool: Used as a towel, baby carrier, or even a fishing net.

👸🏻Cultural Symbol: Worn during traditional dances, ceremonies, and festivals.

Traditional Khmer woven textile krama (ក្រមា), has been officially inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. This recognition was announced during the 19th session of the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage, held in Asunción, Paraguay, in December 2024.

#khmerculture 

#KhmerCultureToTheWorld

#ASEAN #SoutheastAsia

#Krama #KramaCloth 

#Fabric #Traditional #Heritage #Unesco

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Krama, Unforgetful Heritage from Cambodia

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2024 has been a year of incredible experiences. 🙌🏻

From collaborating with incredible artists to dropping a Khmer New Year banger that blew up across Asia, and rocking stages at big events like Sabaidee Fest in America and the Paris Olympics, to headlining for NOCC –  it's been a dream come true. None of this would have been possible without your incredible support. 🙏🏻

Next year is gonna be crazy, so stay tuned y'all!

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2024 has been a year of incredible experiences

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 Khmer Noodles, known as Nom Banh Chok, are a quintessential Cambodian dish worth trying for several reasons:

1. Rich Cultural Heritage

 • Nom Banh Chok has been a part of Khmer cuisine for centuries, symbolizing Cambodian identity and tradition.

 • Eating it connects you to a long-standing culinary history unique to Cambodia.

2. Flavorful and Unique

 • The noodles are served with a fragrant curry sauce made from lemongrass, turmeric, and other fresh herbs.

 • It’s topped with fresh greens like bean sprouts, cucumber, banana flower, and basil, offering a delightful mix of textures and flavors.

3. Healthy and Nutritious

 • The dish is typically light yet satisfying, with ingredients that are natural and wholesome.

 • The fresh vegetables provide vitamins, while the curry sauce is rich in antioxidants and anti-inflammatory ingredients like turmeric.

4. Versatile and Accessible

 • You can enjoy Nom Banh Chok for breakfast, lunch, or as a snack.

 • It’s widely available at street stalls, local markets, and even upscale restaurants, making it accessible for all.

5. Sustainably Local

 • Many of the ingredients are locally sourced, making it a sustainable choice.

 • Supporting this dish helps preserve local farming and cooking traditions.

6. Memorable Experience

 • Eating Nom Banh Chok often involves a rustic experience, like sitting in a market or on small roadside tables, adding to its charm.

 • The process of watching it being freshly prepared is a treat in itself!

Whether you’re a food adventurer or simply want to try something healthy and flavorful, Khmer Noodles are a must-have dish that captures the soul of Cambodian cuisine.

#NomBanhChok #KhmerCuisine #CambodianFood #AsianNoodles #FoodieAdventures #TraditionalDishes #HealthyEats #StreetFoodLover #ExploreCambodia #AuthenticFlavors #Cambodia

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Khmer Noodles, known as Nom Banh Chok,

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 Her Excellency Dr. Phoeung Sakona, Minister of Culture and Fine Arts, was invited to attend the ceremony to congratulate and receive the certificate of "Krama" which was included in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO through Decision 19.COM 7.b.27 on December 4, 2024 in Ascension City, Republic of Paraguay.

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Her Excellency Dr. Phoeung Sakona, Minister of Culture and Fine Arts

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Khmer krama has a history of over 2200 years? ----- Congratulations to the Khmer "krama" for being inscribed on UNESCO's Representative List of the Intangible Cultural Heritage of Humanity. UNESCO congratulates Cambodia for the inscription of the Krama onto the Representative List of the #Intangible Cultural Heritage of Humanity

This unique expression of Cambodian culture, a fabric which holds extraordinary socio-cultural value, and encompasses all aspects of the daily lives of Cambodian people, is the product of traditional knowledge and skills that have been transmitted through the generations and need to be preserved and developed as drivers of social cohesion and community engagement.

The nomination of the Krama constitutes a great opportunity to promote the rich intangible heritage of Cambodia at a global level and support the work of Cambodia’s small and medium enterprises which harness the potential of traditional handicrafts as drivers for economic growth, women’s empowerment, and sustainable development. On behalf of the Cambodian People’s Party and the Senate of Cambodia, I would like to express my congratulations on the inscription of the Khmer krama on the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO in Asunción, Republic of Paraguay, on Wednesday, 4th of the month of Migasir, year of the Chasak of the Year 2568, corresponding to 4th December 2024, by the Intergovernmental Committee for the Safeguarding of the Intangible Cultural Heritage of UNESCO, which was unanimously adopted through decision 19.COM 7.b.27. This inscription is another pride of Cambodia, which has achieved achievements for the nation and the entire Cambodian people. This is a value for Cambodia and the international community in preserving, protecting and promoting the value of “krama” as a heritage for future generations of humanity. On this auspicious occasion, I would like to express my deep gratitude to Her Majesty Queen Norodom Monineath Sihanouk, the Mother of the Khmer Nation, and His Majesty King Norodom Sihamoni, the King of the Kingdom of Cambodia, for their constant support for the Royal Government’s efforts in the field of national cultural heritage, especially intangible cultural heritage that is vulnerable to loss. On this occasion, I would like to express my appreciation for the dedication, support, and close collaboration between the Ministry of Culture and Fine Arts, relevant institutions, and national and international experts in the duty of joint cooperation in preserving, protecting, and promoting the value of “Krama” as a legacy for future generations.

Learn more about it here https://unes.co/s766m2 #SharingHumanity

United Nations in Cambodia Samdech Hun Sen of Cambodia Samdech Thipadei Hun Manet, Prime Minister of Cambodia

 

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UNESCO congratulates Cambodia for the inscription of the Krama onto the Representative List of the #Intangible Cultural Heritage of Humanity

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 BEAUTIFUL CAMBODIAN(KHMER ) TRADITIONAL WEDDING CERAMONY, KINGDOM OF CAMBODIA 🇰🇭

In Khmer wedding, it has a lot of ceremonies held in chronological orders. They show the historical roots related to the Buddha’s period which existed ages ago. According to a book “Khmer Wedding Rules” of Oknha Nov, it puts that in ancient Khmer wedding laws, people perform a song describing God Vesandor Borom Pothisat arranging the marriage between his children – Chealy and Kroesna. And some other songs are about the marriage arrangement of God Ream and Seda. Oknha Nov wrote that the current wedding preparations are arranged according to the rules drawn up by King Preah Chey Chesda Thebdey.

According to the king’s book, it puts that all ceremonies in Khmer wedding are related to mythical stories such as a story "Som Sla Kanseng". It is told that there were two men who went to feed their buffalos in the field would like to make friends with each other and wanted to be relative by marriage with each other because one had a son and the other had a daughter. In order to prove their words, they ask for betel nuts packed in krama from each other to show their promise that their children would marry to each other.

Another story is “the three betel flowers”. It describes that there were four men who had different skills – swimming, shooting, fortune telling, and magic. After completing their study, they returned home. Along the way back near a stream, the fortune teller said that day they were going to meet a girl and become their wife. Then a big bird swooped down on a girl, Khemry, who was having a bath. Right away the shooting man took his bow and shot the bird down back to the stream.

The swimmer then swam to bring her to the ground but she was just dead. After that the magic man helped her be alive again. All four men felt in love with the lad, so they were judged by the Buddha that she would become a wife of someone who swam to help her because he was able to touch her body first. And the fortune teller, magic man, and shooting man would become the father, mother, and brother respectively. Since then in all weddings, the bride and the groom must have three betel flowers in order to show gratitude towards their parents and brothers/sisters.

Setting-the-date ceremony and the groom holding the scarf are told that Prince Thaong was married to Princess Tevtey, a daughter of the sea dragon king. After setting the date already, Tevtey had to bring him to her father at dragon world, so the sea dragon’s daughter asked the prince to hold her scarf in order to dive into the dragon world. In the meanwhile, the dragon king commanded his man to kill the prince at the gate in order to test the prince’s ability. But the daughter had known this; hence, she disguised herself as the prince by changing her skirt and it was put on the prince instead so that the killer was not able to kill the prince. That is why in the current Khmer wedding it was seen that there is clothes change between the groom and the bride, and the groom holding the bride’s scarf in to the room, accompanied by “Phat Cheay and Neang Neak” songs, etc.

The ceremony called “Chey Haong Sousdey Haong Men Haong” in wedding ceremony performed until now is followed by an ancient story recorded in “the rules of wedding” book. It describes that Once upon a time there were two brothers – Chey and Sousdey. At that time, there was no king to continue after the previous king had died in Cambodia, so the officials in the palace relied on the holy elephant and horse to find a man to be their king. Then the animals approached the brothers’ house. Consequently, they knew that one of the brothers was the suitable man to be crowned. Chey became the king and Sousdey became his assistant at the same time. When crowned, the people whooped to bless the king. They said “Chey Haong Sousdey Haong Men Haong” simultaneously. The blessing is adapted to use in the wedding until now."Bongvil Popil" ceremony in the Khmer wedding is also written in “collective Khmer legends” book, volume 9. According to the legend, it is told that once upon a time, there was a man named Chey Sorya who had completed the magic training already from Eyso God, so he asked the God for a sacred relic as a blessing tool for the weddings of human being. Then the God gave the man a replica of his penis and a replica of his wife’s vagina as the blessing tools to spread their reputation in the world. Eyso God took diamond sand from the universe to make a gold banyan leaf representing his wife’s vagina and took a diamond rock from Himalaya Mountain to make a candle representing his penis and supposed them to be “two blessings”. He then told the man to take the candle wrapped in the banyan leaf to circle three times around grooms and brides in order to inhale the smoke making them powerful. The “Popil” ceremony is believed to bring harmony and joyfulness for the new couples making them successful in all challenges. Since Khmer people firmly and sincerely believe in “Popil”, it is performed not only in wedding ceremony but also in other ceremonies such as housewarming, birthday, etc.

"Holding a Sword" tradition in the wedding progress is also told that once upon a time there was a high ranking knight in Peareansey Palace, who fell in love with a daughter of the villager and deposit a piece of gold as a dowry and promised to marry in three months’ time. Three years had gone, so she was married to her neighbor villager but on the wedding day, the knight appeared and took out his sword and killed the man who was the groom. Then the chief clergyman had prayed to dismiss all bad things at the place. The clergyman had analyzed on the power of the sword. That is why people use a sword in the wedding when the bride and the groom are in pair for blessing.

Wedding ceremony is very meaningful for each of individual’s life who follows their tradition and the laws of the country. That is why this ceremony is carefully dealt with concerning to choosing the date which is believed to bring luck and harmony for the people’s lives and starting a new families. Some families do not allow their children to marry in the rain season and some delay it for two years after the engagement ceremony because of the fortune telling.

According to Mr. Nhean Phoeun, a researcher and publisher of Khmer tradition of national and international festival committee, he said that Khmer tradition allows people to marry only in a period of six months in a year but not the other six. Wedding can be carried out only in the 30-day months. Those six months could be in early May, July, October, January, and March. But for engagement ceremony and matching the natural chemistry between son and daughter, they could be performed in any month.

He continued that for the above months, there are only 7 days of each month that are good days. According to the Khmer tradition, they should not perform on their birthday, religious day, lunar or and solar eclipse, and during Khmer new years.

Actually, the reason people do not get married in the rain season is that there are a lot of rains that make it difficult for the wedding reception, procession, and other ceremonies. It is also difficult for the guests travelling to wedding party and it is when farmers are busy with their fields.

#Hun Manet ❤️#Chanmony Pich❤️🇰🇭

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BEAUTIFUL CAMBODIAN(KHMER ) TRADITIONAL WEDDING CERAMONY, KINGDOM OF CAMBODIA

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