Tamazight-NLP/NLLB-Seed_Tamasheq-Latin-Script huggingface dataset:
English: Chartres would have been even more exuberant if the second plan had been followed; it called for seven towers around the transept and sanctuary.
Tamasheq: Chartres ad ekin tedawit a fal addabara wan issin ilkaman has addinat ; ijja fal teɣare n assayat tower tan edes n transept d edag n alwili.
English: The early and High Gothic Laon Cathedral has a square lantern tower over the crossing of the transept; two towers on the western front; and two towers on the ends of the transepts.
Tamasheq: Katedral ta tazzarat tolas šajret n Gothic Laon tila tefatelt fal transept; sanatat tower tan fal ašrut wan ataram ; d sanatat tower tan daɣ amindi tan n transept tan
English: In Normandy, cathedrals and major churches often had multiple towers, built over the centuries; the Abbaye aux Hommes (begun 1066), Caen has nine towers and spires, placed on the facade, the transepts, and the centre.
Tamasheq: Daɣ Normandy, Katedral tan d Egliz tan wi maqqornen ilan ichojjan tan ajjotnen, idaynen daɣ timat n iwityan ; Abbaye aux Hommes (issinta daɣ awatay wan 1066), Caen tila taza tower tan d iskawan ahanen sa s data net , transept tan d ammas
English: A variation of the spire was the flèche, a slender, spear-like spire, which was usually placed on the transept where it crossed the nave.
Tamasheq: Anmizli n isik eqqal fleche , isik šund allaɣ sadidan s harkuk eha fal transept id it imuqqis id nave.
English: Amiens Cathedral has a flèche.
Tamasheq: Katedral tan Amiens tila fleche
English: It was removed in 1786 during a program to modernise the cathedral, but was put back in a new form designed by Eugène Viollet-le-Duc.
Tamasheq: Ammukkas daɣ awatay wan 1786 daɣ talɣa n asimmuti n Katedral mušam eqqal id edag net s dumu izlayan eɣna Eugène Viollet-le-Duc
English: In English Gothic, the major tower was often placed at the crossing of the transept and nave, and was much higher than the other.
Tamasheq: Daɣ Gothic tan England, tower ta maqqorat tila harkuk diha id ammuqas transept d Nave tolas anmajar nat
English: A crossing tower was constructed at Canterbury Cathedral in 1493–1501 by John Wastell, who had previously worked on King's College at Cambridge.
Tamasheq: Tower tan ammas tiday daɣ Katedral tan Canterbury daɣ awatay wan 1493 har 1501 ijja John Wastell s kala exdam fal lakkol wan almalik daɣ Cambridge
English: An unusual double arch had to be constructed in the centre of the crossing to give the tower the extra support it needed.
Tamasheq: Tišangay tannitfasat tizlayat id ti yadnen ilzam ad tidi daɣ ammas n tamuqqest i ad ekfu tower assahat.
English: Construction began again in 1724 to the design of Nicholas Hawksmoor, after first Christopher Wren had proposed a design in 1710, but stopped again in 1727.
Tamasheq: Edey issinta har ajjudi daɣ awatay wan 1724 daɣ uɣna n Nicholas Hawksmoor , darat s ezzar Christopher Wren uɣna n iyyan daɣ awatay wan 1710 mucham azzukat tolas daɣ awatay wan 1727.
English: Cologne Cathedral had been started in the 13th century, following the plan of Amiens Cathedral, but only the apse and the base of one tower were finished in the Gothic period.
Tamasheq: katedral tan Cologne t issinta daɣ awatay wan 1300 t ilkam i addabara n Katedral tan Amiens mušam apse d tadamalut n tower iyyat imdan daɣ azzaman wan Gothic
English: The tower of Ulm Minster has a similar history, begun in 1377, stopped in 1543, and not completed until the 19th century.
Tamasheq: Tower tan Ulm Minister tila attarex olahan , tissinta daɣ awatay wan 1377, tazzukat daɣ awatay wan 1543 tolas war t imda har awatay wan 1900.
English: Burgos Cathedral was more inspired by Northern Europe.
Tamasheq: Katedral tan Burgos tolah id tin Eroba tan tamasna
English: Plate tracery was the first type of tracery to be developed, emerging in the later phase of Early Gothic or First Pointed.
Tamasheq: Tracery tafitallasat taqqal iššikil wa ezzaran n tracery eɣnan, id izjaran daɣ tikkelt tan ušray n Gothic meɣ tan tizarat tizzagat
English: Tracery is practical as well as decorative, because the increasingly large windows of Gothic buildings needed maximum support against the wind.
Tamasheq: Tracery eqqal daɣ edag iyyan a ti illan d harat n adaloj fal as fanetir tan n ideyan win Gothic maqqornen arhan a issohen daɣ adu.
English: Plate tracery reached the height of its sophistication with the 12th century windows of Chartres Cathedral and in the "Dean's Eye" rose window at Lincoln Cathedral.
Tamasheq: “Ibagan ta tifitallasat tewad azuk net wan milɣaw ɣur fanetir tan iknanen daɣ awatay wan 1200 n Katedral tan Chartres d fanetir wa šagaɣan n ““Dean’s Eye”” daɣ Katedral tan Lincoln”.
English: Stone bar-tracery, an important decorative element of Gothic styles, first was used at Reims Cathedral shortly after 1211, in the chevet built by Jean D'Orbais.
Tamasheq: Tracery n ablaɣ n tahunt, iyyan daɣ titbaqqa n iššikilan n adaloj assohen n Gothic, wa ezzaran ijja daɣ Katedral tan Reims darat 1211 a andarran, daɣ Chevet iday Jean D’Orbais
English: Bar-tracery became common after c.1240, with increasing complexity and decreasing weight.
Tamasheq: Bar-tracery eqqal a oharan darat c.1240 s tiw-at tizlayat d afanaz daɣ azuk
English: Rayonnant also deployed mouldings of two different types in tracery, where earlier styles had used moulding of a single size, with different sizes of mullions.
Tamasheq: Rayonnant exdam s issin iššikilan n mul tan n tracery, a ijja awen iššikilan wi azzarnen axdaman s iddikud olahan , ilan mullion tan s izlayan iddikudan nasan.
English: The mullions of Geometrical style typically had capitals with curved bars emerging from them.
Tamasheq: Mullion tan n iššikil wan tegamšakt ila kapital tan net id tizoli ten akrambaynen id izajarnen daɣ san.
English: The mullions were in consequence branched into Y-shaped designs further ornamented with cusps.
Tamasheq: Mullion tan ijjan isud wan Y daɣ iɣanni tan idlaj nen s cusp tan
English: Second Pointed (14th century) saw Intersecting tracery elaborated with ogees, creating a complex reticular (net-like) design known as Reticulated tracery.
Tamasheq: Izzug wan issin (daɣ awatay wan 1400) issikna tracery tammuqqasat tiknat s ogees, tikna iɣanni n taselsit maqqoran ilan isim tracery tan taselsit
English: These shapes are known as daggers, fish-bladders, or mouchettes.
Tamasheq: Dumu tan win it iwazzayan s isim wan tisudifen, tasayas n eman, mouchette tan
English: Perpendicular strove for verticality and dispensed with the Curvilinear style's sinuous lines in favour of unbroken straight mullions from top to bottom, transected by horizontal transoms and bars.
Tamasheq: Strove tan ammuqqas nen daɣ tacšijrit tolas azunnen id išikil n iyaka tan akrambaynen s mullion tan oɣadnen s afalla har s ider , azunnen transom tan d tiburijen
English: The transoms were often topped by miniature crenellations.
Tamasheq: Transom tan alwaqqan iyyed eha s an crenellation s afalla.
English: It frequently covered the facades, and the interior walls of the nave and choir were covered with blind arcades.
Tamasheq: Ilsa harkuk s data tan d ammas n iɣalayan n nave d choir ilsan s arcade tan adirɣalnen
English: 2 Vaults Barrel or groin Ribbed Ribbed vaults appeared in the Romanesque era and were elaborated in the Gothic era.
Tamasheq: 2 vault barrel tan meɣ groin Ribbed vaults ahan daɣ azzaman wan Romanesque tolas aɣnan daɣ azzaman wan Gothic
English: They have a long nave making the body of the church, where the parishioners worshipped; a transverse arm called the transept and, beyond it to the east, the choir, also known as a chancel or presbytery, that was usually reserved for the clergy.
Tamasheq: Ilan nave šajren ijjan taɣissa n egliz edag wa daɣ ɣabbadan bombertan ; afus n transverse s sism net transept d afalla net s alqiblat, choir s isim net iyyan chancel meɣ Presbyterry s kala taqqal edag imizaran n kel addin
English: A passage called the ambulatory circled the choir.
Tamasheq: Edag s isim net choir tan taɣilliwayt timatakwayat
English: The early cathedrals, like Notre-Dame, had six-part rib vaults, with alternating columns and piers, while later cathedrals had the simpler and stronger four-part vaults, with identical columns.
Tamasheq: Katedral tan tin tizarat šund Notre-Dame, tila daɣ ašrut sidisat tijittawen ,id itartaran tinamušraynen d tijittawen as ijja awen Katedral tan tin ušray ilanat akkozat tijittawen raqqosnen tolas assohat nen s olahan itartaran nasnat
English: Transepts were usually short in early French Gothic architecture, but became longer and were given large rose windows in the Rayonnant period.
Tamasheq: Transept tan harkuk igašolnen daɣ edey wan tizarat n France mušam chajrotan tolas ikrašan fanetir tan chajjaɣnen daɣ azzaman wan Rayonnant
English: In England, transepts were more important, and the floor plans were usually much more complex than in French cathedrals, with the addition of attached Lady Chapels, an octagonal Chapter House, and other structures (See plans of Salisbury Cathedral and York Minster below).
Tamasheq: Daɣ England, Transept tan aqqalan a assohen tolas addabara tan nasan aqqalan harkuk a harikan hullan fal Katedral tan win France s tasiwat n Lady Chapel tan osaɣnen, Ehan išimamagan tolas ideyan iyyad ( ikyid daɣ Katedral tan Salisbury d York Minster s ider)
English: An elevation typically had four levels.
Tamasheq: Tišijrit harkuk tila akkoz ihandagan
English: Above that was a narrower gallery, called the triforium, which also helped provide additional thickness and support.
Tamasheq: S afalla tille teɣešt karozat s isim net triforium tidhalat daɣ tasiwit n tassidit d asassuhi
English: This system was used at Noyon Cathedral, Sens Cathedral, and other early structures.
Tamasheq: Sistem wen exdam daɣ Katedral tan Noyon, Katedral tan Sens d ideyan iyyad azzarnen
English: The tribune disappeared, which meant that the arcades could be higher.
Tamasheq: Batma assujalan awen amos as arcade tan ad šijritan
English: A similar arrangement was adapted in England, at Salisbury Cathedral, Lincoln Cathedral, and Ely Cathedral.
Tamasheq: Amukin olahan ijja daɣ England, daɣ Katedral tan Salisbury,Katedral tan Lincoln d Katedral tan Ely
English: This was made possible by the development of the flying buttress, which transferred the thrust of the weight of the roof to the supports outside the walls.
Tamasheq: Awen assarɣas id efes n flying buttress siki azuk n tanda s isigbal win ajjama n iɣalayan
English: Beauvais Cathedral reached the limit of what was possible with Gothic technology.
Tamasheq: Katedral tan Beauvais t ewad tasibdit n awa ilan almaɣna daɣ teknoloji tan Gothic
English: Gothic facades were adapted from the model of the Romanesque facades.
Tamasheq: S data tan Gothic asigbaran iššikil n s data tan win Romanesque
English: The sculpture of the central tympanum was devoted to the Last Judgement, that to the left to the Virgin Mary, and that to the right to the Saints honoured at that particular cathedral.
Tamasheq: Sculpture tan tympanum wan ammas eqqal i ašal wa tilkamat , s tišalgay net Maryama tan talwilit tolas s aɣil alwali tan ijraw nen semɣar daɣ Katedral tihen daɣ
English: They followed the doctrine expressed by Saint Thomas Aquinas that beauty was a "harmony of contrasts."
Tamasheq: “Ilkaman i mirda s allaɣat Thomas Aquinas s tihussay eqqal nat ““ aharoj n haratan izlaynen”””
English: In England the rose window was often replaced by several lancet windows.
Tamasheq: Daɣ England fanetir wa šagaɣan alwaqqan iyyad šarrayan ti fanetir tan n lancet ajjotnen
English: The portals were crowned with high arched gables, composed of concentric arches filled with sculpture.
Tamasheq: Albaban ilsan tan arched gable tan chajrotnen artaynen tišangiwen idnay sculpture
English: The towers were adorned with their own arches, often crowned with pinnacles.
Tamasheq: Tower tan idlajan tan tišangiwen nasan , alwaqqan iyyad pinnacle tan
English: While French cathedrals emphasised the height of the facade, English cathedrals, particularly in earlier Gothic, often emphasised the width.
Tamasheq: Kud inta Katedral tan tin France ijjan at anniyat i azuk wan data tan, Katedral tan tin England hullan tan Gothic tazzarat inta tajja anniyat i tahrike
English: He broke away from the French emphasis on height, and eliminated the column statutes and statuary in the arched entries, and covered the facade with colourful mosaics of biblical scenes (The current mosaics are of a later date).
Tamasheq: Azun id anniyat ta tijja France i azuk, ikkas a hin tamsil tan tin itartran daɣ ujij n tišangay , isilsa s data s dumu tan ajjotnen n tinfusen tin alinjil (mosaic tan tin amarad ijjan at daɣ iwityan win ušray
English: The sculptor Andrea Pisano made the celebrated bronze doors for Florence Baptistry (1330–1336).
Tamasheq: Andrea Pisano ijja albaban n bronze i Florence Baptistry ɣur awatay wan (1330-1336)
English: There is usually a single or double ambulatory, or aisle, around the choir and east end, so parishioners and pilgrims could walk freely easily around east end.
Tamasheq: Ille harkuk, harat iyyan meɣ isiin t i šiwinkit nen meɣ abara edes n choir s alqiblat n amindi net, i a ijrawan i bomber tan d imashujaj ašiwinki raqqisan edes n amindi n alqiblat
English: Abbot Suger first used the novel combination rib vaults and buttresses to replace the thick walls and replace them with stained glass, opening up that portion of the church to what he considered "divine light".
Tamasheq: ‘ Abbot Suger exdam s tizarat s alkittab n rib vault d buttress i ad išri iɣalayan sadednen d ašaray nasan s alkasan idlajnen, tarhinen em n egliz s awa s itawan “”efew n amaxlak””
English: There are three such chapels at Chartres Cathedral, seven at Notre Dame de Paris, Amiens Cathedral, Prague Cathedral and Cologne Cathedral, and nine at Basilica of Saint Anthony of Padua in Italy.
Tamasheq: Illan ti šund karad chapel tan win daɣ Katedral tan Chartres , assa daɣ Notre Dame de Paris, daɣ Katedral tan Amiens, Katedral tan Prague d Katedral tan Cologne d taza daɣ Basilica tan Anthony wan alwili n Padua daɣ Italia
English: An edict of the Second Council of Nicaea in 787 had declared: "The composition of religious images is not to be left to the inspiration of artists; it is derived from the principles put in place by the Catholic Church and religious tradition.
Tamasheq: “Ile dekre taɣaymit tan sanat n Nicea daɣ awatay wa 787 tallaɣet “asirtay n taswera tan tin kel addin war he tanat aɣdiman artist tan ɣas; majrad wen izjar id iširitan wi tijja Egliz Katolik d alasal wan addin”
English: Gradually, as the style evolved, the sculpture became more and more prominent, taking over the columns of the portal, and gradually climbing above the portals, until statues in niches covered the entire facade, as in Wells Cathedral, to the transepts, and, as at Amiens Cathedral, even on the interior of the facade.
Tamasheq: Alwaq wa id iššikil itimittiy, sculpture tan assin tanat tamɣare , šarray nat itartaran win albab tolas fattan at albaban har statue tan ti ahanen inabajjan ilsan at s data fuk šund daɣ Katedral tan Wells har Transept tan d šund daɣ Katedral tan Amiens hak id daɣ ammas n s data.
English: This set a pattern of complex iconography which was followed at other churches.
Tamasheq: Awen ikna iššikil n ikonografi s ilkaman egliz tan
English: The tympanum over the central portal on the west façade of Notre-Dame de Paris vividly illustrates the Last Judgement, with figures of sinners being led off to hell, and good Christians taken to heaven.
Tamasheq: Typanum fal albab wan ammas n s data wan ataram n Notre-Dame de Paris eqqal hullan a isudatten ašal wan tilkamat, iwaran taliwen n adddinat win inasbekkidan ikkanen efew d kriken tan wi olaɣnen ikkanen aljannat
English: The torments of hell were even more vividly depicted.
Tamasheq: Alɣazaban win efew intaned deɣ iknan adalaj
English: They were part of the visual message for the illiterate worshippers, symbols of the evil and danger that threatened those who did not follow the teachings of the church.
Tamasheq: Aqqalan achrut n majrad ilan akayad i inaɣbadan win imajhalan, išikilan n alšin d talbas wi asjraw nen amittisu addinat wi war n ardeɣ s teɣare tin eglliz
English: They were replaced with figures in the Gothic style, designed by Eugène Viollet-le-Duc during the 19th-century restoration.
Tamasheq: Ichrayan tan addinat iyyad daɣ ichikil wan Gothic eɣna Eugène Viollet-le-Duc daɣ amasuɣal n awatay wan 1900
English: Religious teachings in the Middle Ages, particularly the writings of Pseudo-Dionysius the Areopagite, a 6th-century mystic whose book, De Coelesti Hierarchia, was popular among monks in France, taught that all light was divine.
Tamasheq: Teɣare tan addin daɣ iwityan win aru hullan ikitban wi ijja Pseudo-Dionysius the Areopagite, harat daɣ alšinan win awatay wan 6 s alkittab net , De Coelesti Hierarchia, eqqal a ilan isim daɣ bombertan n France, issaɣra as annur fuk eqqal a id ifalan amaxlak.
English: The windows on the north side, frequently in the shade, had windows depicting the Old Testament.
Tamasheq: Fanetir tan n ašrut wan tamasna s ijjit daɣ telay, ilan fanetir tan idlaj nen Alkittab wan Attawrat.
English: The details were painted onto the glass in vitreous enamel, then baked in a kiln to fuse the enamel on the glass.
Tamasheq: Ifassiran idlajan fal alkas ijjan fantir dihen ibsay daɣ fur i ad ibsay fal alkas
English: Sainte-Chapelle became the model for other chapels across Europe.
Tamasheq: Sainte-Chapelle taqqal dumu i chapel tan ti yadnen daɣ Eroba
English: Clear glass was dipped into coloured glass, then portions of the coloured glass were ground away to give exactly the right shade.
Tamasheq: Alkas zar ad ilmaɣ daɣ alkas n dumu tan , dihen išrutan n alkas wan dumu ad izidan i ad akf in telay tan tolaɣat
English: One of the most celebrated Flamboyant buildings was the Sainte-Chapelle de Vincennes (1370s), with walls of glass from floor to ceiling.
Tamasheq: Iyyan daɣ edeyan n Flamboyant ilanen isim hullan ehen Sainte Chapelle de Vicennes (awatay wan 1370) ilan iɣalayan n alkas ɣur sider har s afalla
English: The stained glass windows were extremely complex and expensive to create.
Tamasheq: Fanetir tan n alkas wi ijjanen signi iknan tamɣare hullan tolas assohat eɣanni nasan
English: The rose was a symbol of the Virgin Mary, and they were particularly used in churches dedicated to her, including Notre-Dame de Paris.
Tamasheq: Tašuɣe taqqal ešwal n Mariyama tan talwilit tolas war ahen ar elgiz tan ɣas has asitbat nen eha Notre-Dame de Paris
English: The Palais de la Cité in Paris, close to Notre-Dame de Paris, begun in 1119, which was the principal residence of the French kings until 1417.
Tamasheq: Daɣ Palais de la Cité wan Paris, ehozan Notre-Dame de Paris, issinta daɣ awatay wan 1119 eqqalan edag wan tiditt n tamazduq n almalaki tan win France har awatay wan 1417
English: However, it was soon made obsolete by the development of artillery, and in the 15th century it was remodelled into a comfortable residential palace.
Tamasheq: Hak id ijja awen, ikkas daɣ is efes n albarodan timbe tolad daɣ awatay wan 1500, olas ijji n dumu iyyan i ad eqqil edag n tamazduq olaɣan
English: The oldest existing example in England is probably the Mob Quad of Merton College at Oxford University, constructed between 1288 and 1378.
Tamasheq: Almital wa eru wan iti illan daɣ England war ehamiš as eqqal Mob Quad wan Merton College dav Oxford Unversity idayan jir awatay wan 1288 d awatay wan 1378
English: A similar kind of academic cloister was created at Queen's College, Oxford in the 1140s, likely designed by Reginald Ely.
Tamasheq: Išikil olahan n academic cloister eɣna id daɣ Queen’s College daɣ Oxford daɣ awatay wan 1140 s ehamiš Reginald Ely a ti id eɣnan
English: Some colleges, like Balliol College, Oxford, borrowed a military style from Gothic castles, with battlements and crenolated walls.
Tamasheq: Lakkol tan iyyad šund lakkol an Ballio, Oxford, s amarwasan id iššikil n militer daɣ chato tan tin Gothic ilan iɣalayan ti aɣlas nen d asihadad nen
English: He wrote in 1447 that he wanted his chapel "to proceed in large form, clean and substantial, setting apart superfluity of too great curious works of entail and busy moulding."
Tamasheq: “Iktab daɣ awatay wan 1447 as erha chapel net ““isinta s iššikil maqqoran , zaddigan tolas maqqoran, izlayan ijjit war n infa harat n alxidmaten maqqornen n taflist d ikannan azigatnen”””
English: The walls had two levels of walkways on the inside, a crennellated parapet with merlons, and projecting machicolations from which missiles could be dropped on besiegers.
Tamasheq: Iɣalayan ilan issin ihandagan n ašiwinki daɣ ammas , parapet asihadadan s merlon tan tolas tazizjarat machicouli tan s addobat nat misil an ad t awijir nat fal inadlaman
English: Castles were surrounded by a deep moat, spanned by a single drawbridge.
Tamasheq: šato tan eɣlay tanat id teɣešt šajret akkokal baraj wa s itiwan Drawbridge
English: One good surviving example is the Château de Dourdan, near Nemours.
Tamasheq: Almital iyyan olɣan iddaran eqqal Château de Dourdan edes n Nemours
English: The conversion implied compromises since Latin churches are oriented towards the East and mosques are oriented towards Mecca.
Tamasheq: Amutti ahan ti in afhaman ašmad egliz tan win Latin ahal an sa s alqiblat tolas timizjiddawen ahal nat s as Makkat
English: Lala Mustafa Pasha Mosque, in Famagusta, Northern Cyprus.
Tamasheq: Tamizjidda tan Lala Mustafa Pasha daɣ Famagusta daɣ Tamasna n Cyprus
English: The Gothic style began to be described as outdated, ugly and even barbaric.
Tamasheq: Išikil wan Gothic issinta azajar n as infa harat , ilaš tolas odan in daɣ ta-ite
English: Ireland was an island of Gothic architecture in the 17th and 18th centuries, with the construction of Derry Cathedral (completed 1633), Sligo Cathedral (c. 1730), and Down Cathedral (1790–1818) are other examples.
Tamasheq: Ireland taqqal akal n edey wan Gothic jir awatay wan 1700 d wan 1800 id tiday Katedral tan Derry (timdat daɣ awatay wan 1633), Katedral tan Sligo (c.1730) d Katedral tan Down (1790 har 1818) aqqalan almital an
English: The two western towers of Westminster Abbey were constructed between 1722 and 1745 by Nicholas Hawksmoor, opening a new period of Gothic Revival.
Tamasheq: Tower tan tin sanatat ataram n Westminster Abbey iday tanat Nicholas Hawsksmoor jir awatay wan 1722 d 1745, orahan azzaman eynayan n asudar eynayan n Gothic
English: This period of more universal appeal, spanning 1855–1885, is known in Britain as High Victorian Gothic.
Tamasheq: Azzaman wen n iɣaran daɣ alɣalim ijjanen jir awatay wan 1855 har 1885 issanan ti addinat daɣ Britania s isim wan Gothic wa maqqoran n Victoria
English: From the second half of the 19th century onwards, it became more common in Britain for neo-Gothic to be used in the design of non-ecclesiastical and non-governmental buildings types.
Tamasheq: Daɣ tazune n awatay wan 1900, oharan addinat daɣ Britania axadam n neo-gothic daɣ iɣan an nasan i iššikilan n ihanan wi war n aqqel wi n addin d wi n alxakum
English: Landscape architects work on structures and external spaces in the landscape aspect of the design – large or small, urban, suburban and rural, and with "hard" (built) and "soft" (planted) materials, while integrating ecological sustainability.
Tamasheq: “Albanna tan win amagon fal ideyan d ihandadan win ajjama daɣ amagon n iɣanni- maqqoran meɣ madroyan, ehan aɣrim, suburb d assaxra tolas id isuj “assohat nen (idaynen) d “”lammednen”” (sangat) , daɣ as tan aɣalas n ahinzazaɣ”
English: They can also review proposals to authorize and supervise contracts for the construction work.
Tamasheq: Addoben ad sammutiyan addabara tan i ad akf in turhagat d awikkil n inifhaman win alxidmat tan edey
English: The first person to write of making a landscape was Joseph Addison in 1712.
Tamasheq: Awadim wa ezzaran iktaban iji n amagon war eqqel ar Joseph Addison daɣ awatay wan 1712