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      <image:title>Blog - James Gunn’s Superman delivers a hero we really needed.</image:title>
      <image:caption>Superman (2025) - Image copyright (©) Warner Bros. Pictures or related entities. Used for publicity and promotional purposes.</image:caption>
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      <image:title>Blog - F1:The Movie is as Close as you can get to Racing in the Best Driver’s Seat. - Make it stand out</image:title>
      <image:caption>Still from F1: The Movie - Image copyright (©) Warner Bros. Pictures or related entities. Used for publicity and promotional purposes.</image:caption>
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      <image:title>Blog - F1:The Movie is as Close as you can get to Racing in the Best Driver’s Seat.</image:title>
      <image:caption>F1: The Movie - Image copyright (©) Warner Bros. Pictures or related entities. Used for publicity and promotional purposes.</image:caption>
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      <image:title>Blog - 28 Years Later, a Masterpiece that Humanises Death and puts Memorials at the Forefront…</image:title>
      <image:caption>Still from ‘28 Years Later’ Image credit: SONY</image:caption>
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      <image:title>Blog - 28 Years Later, a Masterpiece that Humanises Death and puts Memorials at the Forefront…</image:title>
      <image:caption>Still from ‘28 Years Later’ Image credit: SONY</image:caption>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
      <image:caption>Still of the Barbican as ‘Coruscant’ in Star Wars: Andor set within my own image when visiting the film location.</image:caption>
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      <image:caption>Cross Section showing the many spaces, walkways, and complexities in the structure of the Barbican centre. Image via RIBA Architecture.com</image:caption>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
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      <image:title>Blog - The Architecture of Andor Part II: Re-Framing the Barbican</image:title>
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      <image:title>Blog - The Architecture of Andor Part I: The Brunswick and Brutalism</image:title>
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      <image:title>Blog - The Architecture of Andor Part I: The Brunswick and Brutalism</image:title>
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      <image:title>Blog - The Architecture of Andor Part I: The Brunswick and Brutalism</image:title>
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      <image:title>Blog - The Architecture of Andor Part I: The Brunswick and Brutalism</image:title>
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      <image:caption>Own image of the A-Frame in the Brunswick.</image:caption>
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      <image:caption>Still of the Brunswick Estate as ‘Coruscant’ in Star Wars: Andor set within my own image when visiting the film location.</image:caption>
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      <image:title>Blog - A Study on the Cinematic Act of ‘Ostension’</image:title>
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      <image:title>Blog - A Study on the Cinematic Act of ‘Ostension’</image:title>
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      <image:caption>‘Tatooine’ film set in Tunisia. Image courtesy of StarWars.com</image:caption>
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    <lastmod>2024-12-27</lastmod>
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      <image:title>Blog - Star Wars: The Skeleton Crew &amp;amp; Retrofuturism - Make it stand out</image:title>
      <image:caption>Concept art for “Star Wars: Skeleton Crew” by Jama Jurabaev. (Lucasfilm Ltd.)</image:caption>
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      <image:caption>(L-R): Wim (Ravi Cabot-Conyers), Jod Na Nawood (Jude Law), KB (Kyriana Kratter), Neel (Robert Timothy Smith), and Fern (Ryan Kiera Armstrong) in Lucasfilm's STAR WARS: SKELETON CREW, exclusively on Disney+. Photo by Matt Kennedy. Image courtesy of Disney+ (© 2024 Lucasfilm Ltd™)</image:caption>
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    <loc>https://www.nadamaktari.com/store</loc>
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    <loc>https://www.nadamaktari.com/architecture</loc>
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  <url>
    <loc>https://www.nadamaktari.com/architecture/interruptingwiththeunnational</loc>
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    <priority>0.5</priority>
    <lastmod>2024-06-24</lastmod>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>An iteration of the ‘Gom Jabbar’ with the nodes melting under the pressure of authoritarian figures.</image:caption>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>Section drawing revealing the buried domes within the underground car park.</image:caption>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>Interior perspective from the ground floor ramp leading to the suspension gallery.</image:caption>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>Looking up from the lower grounds of the gallery, admiring the steel structure and installation.</image:caption>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>The ramps host informal spaces for discussions.</image:caption>
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      <image:title>Architecture - Interrupting with the 'Un' National</image:title>
      <image:caption>First floor gallery space with artwork by Ramses Younan.</image:caption>
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  </url>
  <url>
    <loc>https://www.nadamaktari.com/architecture/theatreofmythsandtragedies</loc>
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    <lastmod>2024-06-24</lastmod>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>The theatre is in the Seraglio Point of Istanbul, framing the Maiden Tower. The theatre proposed is an immersive accommodation for recently excavated Byzantine and Roman ruins, hosting a space where tourists, archaeologists and creatives meet.</image:caption>
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    <image:image>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>Inspired by legends of the Medusa heads in the Basilica Cistern, the arrival by boat welcomes visitors with a corridor integrating columns of a hybridised Corinthian and Muqarnas structure. The Storyteller greets visitors here and guides them.</image:caption>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>Earlier research and experimentation looked into retelling the myths of Medusa's tomb being discovered by the Ottomans in the Basilica Cistern.</image:caption>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>The hybridised columns have been integrated structurally across the theatrical experience, with the tales of Medusa carried through architecturally.</image:caption>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>The storyteller guides the visitors to the main theatre, derived from a traditional Greek structure. Performers descend from in between and the plays take place in accordance to the tidal times which flood the orchestra pit, reflecting the ruin.</image:caption>
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      <image:title>Architecture - The Theatre of Myths &amp; Tragedies</image:title>
      <image:caption>As a continuation of the hybridised columns, mythmaking on-site also occurs through sculpting. Here, the Storyteller journeys around the studio by the salt pools, he pays respect to the statue of Ataturk and shows the sculptors at work.</image:caption>
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