View allAll Photos Tagged Artistic-Design,
A housekeeper sprays an artistic design of glass cleaner onto the inside of a hotel window in downtown Portland.
Happy Window Wednesday, everyone! =)
Imagen creativa. Tratamiento digital sobre base fotográfica propia. Gracias de antemano por vuestros comentarios, award, favoritos, invitaciones a grupo y la elección para galerías; perdonad que quizás no pueda responder individualmente. Todos los derechos reservados
Uso de imágenes realizas con IA – DDG, NigthCafeStudio, fusionadas con texturas e imágenes propias con Filter Forge, Photosoph.
Imagen creada para el grupo Artistic Manipulation
Our CHEF for MIXMASTER CHALLENGE #67 is brillianthues. Our mission is to create a manipulated and/or digital art image that uses her ingredients. If you win this challenge, you will become the CHEF who chooses the recipe next time! See the details below in Rule #8.
CHEF brillianthues wants us to have fun creating a scrapbooking-style collage. Here are some examples of what she has in mind.
➤ Your background must be patterned or textured or both.
➤ The focus must be a woman or man in black and white.
➤ You must use text as an artistic design element.
➤ Include one or more flowers and/or birds and/or butterflies.
➤ NO facsimiles of people (mannequins, aliens, statues).
An artistic design of an antique steel lantern taken diagonally from below. This was attached to the wall of a building next to a front door.
Created for Artistic Manipulation Group's MIXMASTER CHALLENGE #67
CHEF brillianthues wants us to have fun creating a scrapbooking-style collage. Here are some examples of what she has in mind.
➤ Your background must be patterned or textured or both.
➤ The focus must be a woman or man in black and white.
➤ You must use text as an artistic design element.
➤ Include one or more flowers and/or birds and/or butterflies.
➤ NO facsimiles of people (mannequins, aliens, statues).
Credits: photo of girl is mine; background with text is by jmadd; butterfly and lips via pixabay.com; I'm pretty sure the dotted patterns were free stock; birds are public domain.
Artistically designed label glued to the inside of the front cover of a book with [the inscription »Exlibris« or »Ex libris« and] the name of the owner.
HMM !!!
Happy Monday dear friends. Last night I opened the fridge door, pulled out every single sliceable thing and started slaughtering them. Well, after many, many, many different versions of “food slices” and unliked photo shoots, my stomach ended up growling to all the remaining slices I threw at it- cause I hate to waste food.
This is what I created for this week’s Macro Monday. A 3.5 cm vase made of a longitudinally cut cucumber slice, and placed on a regular slice of the cucumber. It is garnished with a basil heart and it holds freshly cut micro herbs, from my winter mini garden.
I had a great thyme creating this and had to dill with many obstacles but I couldn’t believe how cute it looked at the end.
I hope you like it too. Thank you for your visit 💚
“The iconostasis, the altar canopy, the royal seat, frames for large and small windows, stucco, carved wood decorations, made in St. Petersburg according to Rastrelli’s drawings, were delivered to Kyiv with great precautions. Everything about the new temple was amazing! The iconostasis is majestic, three-tiered, in the center of which, above the cornice of the second tier, there is a symbolic “all-seeing eye” in the form of a cartouche, a triangle and a crown. To his right and left are two graceful angels, as if floating in the air. Two more similar to them, a little lower, on the pediment of the first tier, seem ready to instantly fly into the skies. It's hard to believe that the figures are carved from wood! The abundance of wooden sculpture is one of the distinguishing features of the artistic design of the interior of St. Andrew's Church.“
Natalya Sazonova, “Beauty of the Gallant Age”, 12/29/2000, Mirror of the Week.
“Іконостас, надпрестольний покров, царське місце, рами для великих і малих вікон, ліпнину, різьблені прикраси з дерева, виготовлені в Санкт-Петербурзі за кресленнями Растреллі, доставили до Києва з великими обережностями.
Все у новому храмі вражало уяву!
Іконостас — величний, триярусний, у центрі якого над карнизом другого ярусу вміщено символічне «всевидюче око» у вигляді картуша, трикутника та корони.
Праворуч і ліворуч від нього — два граціозні ангели, наче ширяють у повітрі. Ще два, подібні до них, — трохи нижче, на фронтоні першого ярусу, здається, готові миттю злетіти в небеса. Важко повірити, що фігури вирізьблені з дерева! Велика кількість дерев'яної скульптури - одна з відмінностей художнього оформлення інтер'єру Андріївської церкви.”
Наталія Сазонова, «Красуня галантного віку», 29.12.2000, Дзеркало тижня.
The building of the National Bank of Ukraine is an architectural gem of Kyiv and a perfect example of the achievements of science and technology in construction of the beginning of the 20th century.
Built to meet the demands of the times, the building of the National Bank is the embodiment of experiments with different historical eras by the chief architect Oleksandr Kobelev. In an amazing design, the architect combined Northern Italian Gothic and early Florentine Renaissance. The artistic design of the bank is the merit of the Italian master Elio Sal, the author of the famous fantastic creatures in the House of Chimeras.
Будівля Національного банку України – архітектурна перлина Києва та довершений зразок досягнень науки і техніки у будівництві початку ХХ століття.
Побудована на вимогу часу, споруда Національного банку є втіленням експериментів з різними історичними епохами головного архітектора Олександра Кобелєва. У дивовижному дизайні архітектор поєднав північно-італійську готику та раннє флорентійське Відродження. Художнє оформлення банку – заслуга італійського майстра Еліо Саля, автора знаменитих фантастичних істот на Будинку з химерами.
Die U-Bahn-Station Chlodwigplatz in Köln beeindruckt mit architektonischer Tiefe und künstlerischer Gestaltung. Eine urbane Komposition aus Form, Farbe und Funktion.
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Chlodwigplatz subway station in Cologne captivates with architectural depth and artistic design. A striking composition of shape, color, and function in the heart of the city.
ENG: What you discover when you visit a public office in Berlin. This artistically designed window caught my eye right away and is now also trapped in my iPhone memory.
Do either of you know where that window is? Okay, you already know the answer, yes, it's the district office of Prenzlauer Berg.
GER: Was man alles so beim Besuch eines Bürgeramtes in Berlin entdeckt. Dieses kunstvoll gestaltete Fenster ist mir gleich ins Auge gestochen und es ist nun auch in meinem iPhone Speicher gefangen.
Weiß einer von euch, wo dieses Fenster ist? Okay, ihr kennt schon die Antwort, ja es ist das Bezirksamt von Prenzlauer Berg.
In der Karl-Borromäus-Kirche, der Friedhofskirche auf dem Wiener Zentralfriedhof
In St. Charles Borromeo Cemetery Church in the Vienna Central Cemetery
The church was built between 1908 and 1910 according to plans by the architect Max Hegele. The architectural and artistic design of the church can be attributed to Art Nouveau, but it also features historicist elements.
de.wikipedia.org/wiki/Friedhofskirche_zum_heiligen_Karl_B...
Das Neue Rathaus in Chemnitz entstand 1907 bis 1911 nach Plänen des Stadtbaurates Richard Möbius. Der monumentale Bau bildet zusammen mit dem Alten Rathaus einen markanten Gebäudekomplex, der auch als Chemnitzer Doppelrathaus bezeichnet wird.
Geschichte
Das Neue Rathaus ist das dritte Chemnitzer Rathaus. Es wurde erforderlich, da sich durch die rasche industrielle Entwicklung der Stadt und dem damit verbundenen rasanten Bevölkerungswachstum der städtische Verwaltungsapparat vergrößerte. Betrug die Einwohnerzahl im Jahr 1883 noch 100.000, so stieg sie 1901 auf 200.000 und im Jahr 1912 schon auf über 300.000. Die Räumlichkeiten des als Rathaus fungierenden Stadthauses am Beckerplatz erwiesen sich als zu klein, so dass man 1907 mit dem Bau begann. Zu diesem Zeitpunkt galt Chemnitz als die bedeutendste Industriestadt und zweite Handelsmetropole in Sachsen. Von 1907 bis 1911 war das Zentrum der Stadt eine Großbaustelle. Zahlreiche alte Bürgerhäuser am Markt und Neumarkt mussten dem Neubau weichen, darunter eine alte Lateinschule aus dem Ende des 14. Jahrhunderts, von der nur das Portal erhalten blieb. Das am 2. September 1911 im Beisein des sächsischen Königs eingeweihte neue Rathaus selbst fügt sich harmonisch an das Alte Rathaus an, ohne auf Elemente des Jugendstils zu verzichten. Im Inneren hielt Richard Möbius das Rathaus in reinem Jugendstil. Sehenswert ist das im Stadtverordnetensaal hängende Wandgemälde „Arbeit = Wohlstand = Schönheit“ von Max Klinger aus dem Jahr 1918.
An der Fassade befindet sich eine vom Dresdner Bildhauer Alexander Höfer geschaffene 4,75 m hohe Rolandsfigur. Da auf dem Marktplatz selbst kein Platz zur Verfügung stand, wurde sie als Eckfigur mit Blick zum Markt und ehemaligen Neumarkt ausgeführt. Der Roland ist ein Symbol des Streiters für städtische Freiheit und Gerichtsbarkeit. Noch heute zeugt dieses ansehnliche Rathausgebäude mitsamt seiner Ausstattung und künstlerischen Ausgestaltung von der ehemaligen Bedeutung und dem Reichtum dieser Stadt. Im März 1945 wurden 90 % der Chemnitzer Innenstadt zerstört. Wiederaufgebaut wurden am Markt nur das alte Rathaus und 1953/1954 an der Westseite das Siegert’sche Haus, da nur eine unzerstörte Fassade von den Patrizierhäusern übrig blieb. Das neue Rathaus überstand die Luftangriffe als einziges Gebäude in der Innenstadt nahezu unversehrt. Von direkten Treffern verschont, verhinderten vor allem Luftschutzangehörige, Feuerwehr und andere Helfer, dass die Feuersbrunst auf das neue Rathaus übergriff. Angesichts der fast völligen Zerstörung des sich direkt anschließenden alten Rathauses, eine bemerkenswerte Leistung. Dadurch ist das Gebäude von überragender stadthistorischer Bedeutung.
de.wikipedia.org/wiki/Neues_Rathaus_(Chemnitz)
The New Town Hall in Chemnitz was built between 1907 and 1911 according to plans by city planning officer Richard Möbius. Together with the Old Town Hall, the monumental building forms a striking complex, also known as Chemnitz's double town hall. The New City Hall is Chemnitz's third City Hall. It became necessary because the rapid industrial development of the city and the associated rapid population growth meant that the municipal administration had to expand. While the population was still 100,000 in 1883, it rose to 200,000 in 1901 and to over 300,000 in 1912. The premises of the municipal building on Beckerplatz, which served as the effective City Hall, proved to be too small, so construction began in 1907. At that time, Chemnitz was considered the most important industrial city and second commercial metropolis in Saxony. From 1907 to 1911, the city centre was a major construction site. Numerous old town houses on the Market Square and New Market Square had to make way for the new building, including an old Latin school from the end of the 14th century, of which only the portal remained. The New City Hall, inaugurated on 2 September 1911 in the presence of the King of Saxony, blends harmoniously with the Old City Hall without sacrificing any Art Nouveau elements. Inside, Richard Möbius kept the City Hall in pure Art Nouveau style. Worth seeing is the mural ‘Work = Prosperity = Beauty’ by Max Klinger from 1918, which hangs in the City Council Chamber. On the façade is a 4.75-metre-high statue of Roland created by Dresden sculptor Alexander Höfer. As there was no space available on the market square itself, it was designed as a corner statue facing the market and the New Market. Roland is a symbol of the fighter for urban freedom and jurisdiction. Even today, this impressive city hall building, with all its furnishings and artistic design, bears witness to the former importance and wealth of this city. In March 1945, 90% of Chemnitz city centre was destroyed. Only the old town hall was rebuilt on the market square, followed in 1953/1954 by the Siegert'sche Haus on the west side, as only one undamaged façade remained of the patrician houses. The new town hall was the only building in the city centre to survive the air raids almost unscathed. Spared from direct hits, it was mainly air raid wardens, firefighters and other helpers who prevented the conflagration from spreading to the new town hall. This was a remarkable achievement, given the almost complete destruction of the old town hall directly adjacent to it. This makes the building of outstanding historical importance to the city.
La Grande Mosquée Sheikh Zayed - Abu Dhabi
Témoin de la vision de son fondateur, la Grande Mosquée Sheikh Zayed se dresse majestueusement à l'entrée de l'île d'Abu Dhabi. Elle est reconnue pour sa couleur pure car revêtue de marbre de Macédoine. Chaque élément de conception artistique a été soigneusement examiné et s'inscrit dans la vision globale de la mosquée.
As a testament to the vision of its founder, Sheikh Zayed Grand Mosque sits majestically at the entrance to Abu Dhabi City Island. The Grand Mosque is well recognized by its pure color, as it is clad with marble from Macedonia. Every artistic design element was carefully considered and fits into the overall vision of the Mosque.
The Immaculate Conception Church (Spanish: Iglesia de Nuestra Señora de la Inmaculada Concepción de María) is a Baroque church located in Poblacion, Upper Jasaan in Misamis Oriental, Philippines. It was declared by the National Museum as a National Cultural Treasure in Northern Mindanao due to its artistic design and cultural values.
The church was a provincial attempt to mimic the famous San Ignacio Church of Intramuros in Manila. The Jesuit brothers Francisco Rivera and Juan Cuesta are credited with the construction of the original church.[1] At present, the church is undergoing repair and restoration pursuant to the National Cultural Heritage Act otherwise known as the "Cultural Properties Preservation and Protection Act".
en.m.wikipedia.org/wiki/Immaculate_Conception_Parish_Church_(Jasaan)
I was particularly fascinated by the church vault with its harmonious, delicate and bright colours and fine details.
Bewunderung für die wunderbare künstlerische Gestaltung der Nikolaikirche in Leipzig. Mich hat besonders das Kirchengewölbe mit seinen harmonischen, zarten und hellen Farben sowie den feinen Details fasziniert.
Für #Flickr21Challenge
Day 21 - 02.03.2025 - #Awe
Many thanks for your visits, favs and comments.💚
Best seen at full size!
Verticordia insignis subsp. eomagis flowers are so artistically designed and structured - yet delicate!
Photo: Jean
The Bamberg Horseman is a famous stone statue in Bamberg's Imperial Cathedral.
A stone king rides high up through an imaginary portal to the double grave of the imperial couple Heinrich and Kunigunde.
The cathedral rider was placed on a particularly beautiful and artistically designed console on the north pillar of the cathedral choir in the 13th century.
The interpretation of the sculpture is controversial. From the messiah, who rides unarmed out of heaven to the final battle, to the emperor and various kings and saints, the bandwidth of the assumed depiction ranges. Of course, one of the three kings is also included.
In the 20th century in particular, the Bamberg rider as a knightly, aristocratic human type became a symbol of national propaganda, and the imperial cathedral was also referred to as the “true national shrine of the Germans” because of the rider.
St. Lambertus war eine römisch-katholische Pfarrkirche im Ortsteil Immerath der Stadt Erkelenz in Nordrhein-Westfalen.
Seit dem 14. Mai 1985 stand die Kirche als Baudenkmal unter Denkmalschutz, wurde aber trotz Protesten am 8. Januar 2018 zugunsten des Braunkohle-Tagebaues Garzweiler abgerissen. Sie war die einzige Kirche im Kreis Heinsberg mit einer Doppelturmfassade. Im Volksmund war das Bauwerk auch als „Immerather Dom“ bekannt.
Durch den Braunkohletagebau Garzweiler II werden bis 2045 etwa 5000 Menschen umgesiedelt, darunter auch die Ortschaft Immerath. Am 13. Oktober 2013 wurde die Kirche in einem feierlichen Gottesdienst entwidmet und das Ewige Licht gelöscht.
Am 21. Juni 2017 wurden durch Industriekletterer die beiden Turmkreuze geborgen. Im Dezember 2017 wurde ein in die Apsis eingearbeitetes steinernes Kruzifix in Einzelteilen aus der Wand gelöst und geborgen. Es wird an der Apsis der Kirche St. Franziskus in Bonn angebracht werden. In einem Noteinsatz der „Forschungsstelle Glasmalerei“ aus Mönchengladbach, geleitet von Annette und Ernst Jansen-Winkeln jun., konnte in den letzten vier Tagen vor dem Abriss ein Teil der künstlerisch gestalteten Glasfenster gerettet werden.
Am Sonntag, dem 7. Januar 2018, nahmen rund 300 Menschen mit einer Mahnwache Abschied und zeigten lange Spruchbänder, um damit gegen den am nächsten Tag beginnenden Abriss des früheren Gotteshauses zu demonstrieren. Anschließend drangen einige Greenpeace-Aktivisten in die profanierte Kirche ein und besetzten sie.
Am darauffolgenden Montag wurde mit dem Abriss der Kirche begonnen, nachdem die Besetzer aus dem Gebäude geleitet worden waren. Am 9. Januar 2018 fielen die beiden Türme, die nach dem ersten Abrisstag noch stehen geblieben waren.
Ein Erhalt oder eine Translozierung (Versetzung) der Kirche wie etwa beim ähnlichen Fall der Heuersdorfer Emmauskirche wurde nicht erwogen.
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St. Lambertus was a Roman Catholic parish church in the Immerath district of the town of Erkelenz in North Rhine-Westphalia.
Since May 14, 1985, the church has been a listed building, but despite protests it was demolished on January 8, 2018 in favor of the Garzweiler lignite opencast mine. It was the only church in the district of Heinsberg with a double tower facade. The building was popularly known as the "Immerather Dom".
By 2045, about 5,000 people will be resettled by the Garzweiler II opencast lignite mine, including the village of Immerath. On October 13, 2013, the church was deconsecrated in a solemn service and the eternal light was extinguished.
On June 21, 2017, the two tower crosses were recovered by industrial climbers. In December 2017, a stone crucifix worked into the apse was detached from the wall in individual parts and salvaged. It will be attached to the apse of the Church of St. Francis in Bonn. In an emergency operation by the "Glass Painting Research Center" from Mönchengladbach, led by Annette and Ernst Jansen-Winkeln junior, part of the artistically designed glass windows could be saved in the last four days before the demolition.
On Sunday, January 7, 2018, around 300 people said goodbye with a vigil and displayed long banners to demonstrate against the demolition of the former church beginning the next day. Subsequently, some Greenpeace activists entered and occupied the profaned church.
Demolition of the church began the following Monday after the squatters were escorted out of the building. On January 9, 2018, the two towers that were still standing after the first day of demolition fell.
A preservation or a translocation (relocation) of the church as in the similar case of the Heuersdorfer Emmauskirche was not considered.
Discover the epitome of modern luxury with our ultra-modern fireplace, blending marble and plaster for a stunning minimalist aesthetic. Its sharp edges and artistic design elevate any space, with five material options to customize your perfect ambiance. Redefine sophistication and warmth in your home with our exquisite fireplace today!
What are you waiting for, go grab your copy!
Your Taxi: maps.secondlife.com/secondlife/ACCESS%203/132/111/1001
Created for Artistic Manipulation Group's MIXMASTER CHALLENGE #67.
Also entered in EXPLORE WORTHY, Mini Challenge 28 - Love & Romance (2024 Art)
Jessica Jarrell's"Key To My Heart" can be heard HERE.
CHEF brillianthues wants us to have fun creating a scrapbooking-style collage. Here are some examples of what she has in mind.
➤ Your background must be patterned or textured or both.
➤ The focus must be a woman or man in black and white.
➤ You must use text as an artistic design element.
➤ Include one or more flowers and/or birds and/or butterflies.
➤ NO facsimiles of people (mannequins, aliens, statues).
Credits: photo of young woman and all textures (3 of them) are mine; red heart, butterfly heart, key hole and key via PixelSquid.com; key via pixabay.com.
MIXMASTER CHALLENGE #67 - Chef: brillianthues
CHEF brillianthues wants us to have fun creating a scrapbooking-style collage. Here is the recipe.
➤ Your background must be patterned or textured or both.
➤ The focus must be a woman or man in black and white.
➤ You must use text as an artistic design element.
➤ Include one or more flowers and/or birds and/or butterflies.
➤ NO facsimiles of people (mannequins, aliens, statues).
La Grande Mosquée Sheikh Zayed - Abu Dhabi
Témoin de la vision de son fondateur, la Grande Mosquée Sheikh Zayed se dresse majestueusement à l'entrée de l'île d'Abu Dhabi. Elle est reconnue pour sa couleur pure car revêtue de marbre de Macédoine. Chaque élément de conception artistique a été soigneusement examiné et s'inscrit dans la vision globale de la mosquée.
As a testament to the vision of its founder, Sheikh Zayed Grand Mosque sits majestically at the entrance to Abu Dhabi City Island. The Grand Mosque is well recognized by its pure color, as it is clad with marble from Macedonia. Every artistic design element was carefully considered and fits into the overall vision of the Mosque.
The Annunciation Cathedral was built by Russian craftsmen in the traditions of Pskov and Moscow architecture on the old basement, preserved from the previous temple. The modern appearance of the cathedral with covered galleries and four aisles at their corners, with a pyramidal silhouette crowned with nine gilded domes, took shape in the 60s of the 16th century.
The walls of the cathedral are dissected by shoulder blades and completed with keel-shaped zakomars, which is typical of early Moscow architecture;
The eastern wall was originally covered by a gallery, so only a modest belt of balusters was placed high on the apses. At first it was terracotta, as on the Church of the Deposition of the Robe, built simultaneously with the Annunciation Cathedral and by the same masters, but in the 19th century it was replaced with a stone one.
The chapels added in the 1560s successfully complement the main volume: their walls are dissected by square flyers and completed with small kokoshniks echoing the zakomaras of the cathedral. The construction of aisles in the Annunciation Cathedral in 1564-1566 fundamentally changed the artistic appearance of the monument, made it sound in a new way in the Cathedral Square ensemble. The Cathedral of the Annunciation has four chapels - small single-domed pillarless churches with thin walls one brick thick. They are erected over the corners of the galleries. Researchers associate the creation of side chapels with the largest events of the Grozny time in the middle of the 16th century - the wedding of Ivan the Terrible, the capture of Kazan, the capture of Polotsk in 1563 (one of the victories in the Livonian War).
Cathedral of the Annunciation.
The well-preserved interiors of the aisles with carved white stone floors and the iconostasis complexes of the 60s of the 16th century make it possible to restore the interiors of these interesting cultural monuments of Rus' during the time of Ivan the Terrible.
Having surrounded the central volume of the building with small detached aisles-churches, the architects of the middle of the 16th century fundamentally changed the original ideological and artistic design of the monument. Having lost the slender silhouette and harmonious balance of the interior and exterior of a small Moscow church of the end of the 15th century, the Annunciation Cathedral acquired the picturesque splendor characteristic of the architectural monuments of the Grozny time, became a kind of monument, representing on Cathedral Square from the Grand Duke's house, emphasizing the significance of the new position of the Moscow sovereign - "Tsar of all Rus'." The nine-domed pyramidal composition brings the Cathedral of the Annunciation closer to the monument to the Kazan victory - the Cathedral of the Intercession on Red Square.
The building of the cathedral stands on a high basement. The basement is an architectural monument of the late 14th century. This is a square room under the central part of the cathedral, built of large white stone blocks. In the center of it is a massive pillar with low arches thrown from it to the walls. An apse adjoins it from the east. Probably, initially the grand ducal treasury was kept in the basement. Since 1989, an archaeological exhibition has been opened in it, the exhibits of which are related to the history of settlement and development of Borovitsky Hill, with unique treasures that were found in the 19th - 20th centuries. on the territory of the Kremlin.
The cathedral is surrounded by galleries on three sides. The architecture of the northern and western front galleries clearly shows the features of the Italian Renaissance. They are covered with cross vaults of beautiful outlines, the pillars bearing them are decorated with panels and crowned with carved white stone capitals, similar capitals adorn the shoulder blades of the walls. The northern and western galleries were used in solemn processions, for the passage of royal processions, the Orthodox guests of the tsar for a reception at the Palace of Facets.
The southern and now lost eastern galleries were erected simultaneously in 1489. The southern porch already then was a separate enclosed space. Probably in the middle of the 16th century. the chapel of Basil of Caesarea was moved here from the deacon. In 1562-1564, the chapel located in the gallery was renovated.
The plan and the northern facade of the Annunciation Cathedral and the Armory (designed by D.V. Ukhtomsky). Section of the Annunciation Cathedral (along the southern gallery and St. George's chapel) and the Armory (designed by D.V. Ukhtomsky). Annunciation Cathedral.
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Благовещенский собор построен русскими мастерами в традициях псковской и московской архитектуры на старом подклете, сохраненном от предшествовавшего храма. Современный облик собора с крытыми галереями и четырьмя приделами на их углах, с пирамидальным силуэтом, увенчанным девятью золочеными куполами, сложился в 60-е годы XVI века.
Стены собора расчленены лопатками и завершены килевидными закомарами, что свойственно раннемосковской архитектуре, ритм закомар повторяют кокошники в основании центральной главы, в аркатурный фриз вписаны узкие щелевидные окна.
Восточную стену первоначально закрывала галерея, поэтому только высоко на апсидах помещен скромный поясок балясин. Сначала он был терракотовым, как на построенной одновременно с Благовещенским собором и теми же мастерами церкви Ризположения, но в XIX веке его заменили на каменный.
Пристроенные в 1560-х годах приделы удачно дополняют основной объем: их стены расчленены квадратными ширинками и завершены небольшими кокошниками перекликающимися с закомарами собора. Строительство приделов в Благовещенском соборе в 1564—1566 годах принципиально изменило художественный облик памятника, заставило его по-новому звучать в ансамбле Соборной площади. Благовещенский собор имеет четыре придела - небольшие одноглавые бесстолпные церковки с тонкими стенами толщиной в один кирпич. Они возведены над углами галерей. Создание приделов исследователи связывают с крупнейшими событиями грозненского времени середины XVI века – венчанием на царство Ивана Грозного, взятием Казани, взятием Полоцка 1563 года (одной из побед в Ливонской войне).
Благовещенский собор.
Хорошо сохранившиеся внутренние помещения приделов с резными белокаменными полами и комплексы иконостасов 60-х годов XVI века позволяют восстановить интерьеры этих интересных памятников культуры Руси времени Иоанна Грозного.
Окружив центральный объем здания небольшими отдельно стоящими приделами-церковками, зодчие середины XVI века принципиально изменили первоначальный идейно-художественный замысел памятника. Утратив стройный силуэт и гармоничное равновесие интерьера и внешнего облика небольшого московского храма конца XV века, Благовещенский собор приобрел живописную парадность, свойственную памятникам архитектуры грозненского времени, стал своеобразным монументом, представительствующим на Соборной площади от великокняжеского дома, подчеркивающим значимость нового положения московского государя — «царя всея Руси». Девятиглавая пирамидальная композиция сближает Благовещенский собор с памятником Казанской победы – Покровским собором на Красной площади.
Здание собора стоит на высоком подклете. Подклет представляет собою памятник архитектуры конца XIV в. Это квадратное в плане помещение под центральной частью собора, выложенное из крупных белокаменных блоков. В центре его массивный столп с перекинутыми от него на стены низкими арками. С востока к нему примыкает апсида. Вероятно, изначально в подклете хранилась великокняжеская казна. С 1989 года в нем открыта археологическая выставка, экспонаты которой связаны с историей заселения и освоения Боровицкого холма, с уникальными кладами, которые были найдены в XIX – XX вв. на территории Кремля.
Собор с трех сторон окружен галереями. В архитектуре северной и западной парадных галерей явно видны черты итальянского Возрождения. Они перекрыты красивыми по очертаниям крестовыми сводами, несущие их столпы украшены филенками и увенчаны резными белокаменными капителями, подобные капители украшают и лопатки стен. Северная и западная галереи использовались в торжественных процессиях, для прохода царских шествий, православных гостей царя на прием в Грановитую палату.
Южная и ныне утраченная восточная галереи были возведены одновременно в 1489 году. Южная паперть уже тогда представляла собой отдельное закрытое помещение. Вероятно, в середине XVI в. сюда из дьяконника был перенесен придел Василия Кесарийского. В 1562-1564 годах придел, расположенный в галерее, был обновлен.
Bending reality with a 3D mural. Look carefully and you'll see it's a clever illusion. Not only does it look like edges but the image flips from appearing convex to concave.
Vancouver is (finally) encouraging more murals to pop up around town and this is one I found on South Granville St.
Artistic Design: Kristofir Dean
Painted By: Milan Basic and Oksana Gaidasheva
EXPLORED Oct. 23, 2016
Vancouver is (finally) encouraging creative murals to pop up around town and this is one I found on South Granville St. Look carefully and you'll see it's actually not the edge of a wall.
Artistic Design: Kristofir Dean
Painted By: Milan Basic and Oksana Gaidasheva
"The New Palais is the largest palace in Potsdam's Sanssouci Park and has been a UNESCO World Heritage Site of the “Palaces and Parks of Potsdam and Berlin” for 25 years. With its completely preserved original substance and furnishings, it is also one of the most valuable in terms of art and culture palace complexes in the world. It is one of the most comprehensive and at the same time most authentic examples of decorative interior art in the age of Frederick the Great. The New Palace was built after the end of the Seven Years' War between 1763 and 1769 by Johann Gottfried Büring (1723–1788), Heinrich Ludwig Manger (1728–1790) as well as Carl von Gontard and should herald the new size of Prussia. It was designed as a summer residence, which Frederick the Great furnished with apartments for relatives and guests as well as an apartment for himself. [...]"
"The 600 square meter, richly encrusted natural stone floor fits like an ornamental carpet into the architecturally strictly structured marble hall. In terms of its dimensions, its artistic design and its craftsmanship, the floor is a masterpiece of interior decoration that is unique in the European palace architecture of the 18th century.
Frederick the Great valued the decorative effect of colored natural stones and used them above all to decorate the ballrooms in his Potsdam palaces. On the floor of the marble hall, the richly varied and filigree ornament style of the Frederician Rococo, which otherwise adorns walls, ceilings and handicraft objects, was transferred to the large stone surface. [...]"
"The execution of the floor in the years 1766 and 1767 was carried out by the artistically and entrepreneurially versatile Johann Melchior Kambly (1718-1783) and the decoration sculptor Matthias Müller (from 1745 to 1774 in Potsdam), whereby the former is certainly responsible for the overall management. [...]
A special feature of the marble hall is the enormous span of the supporting structure for the floor. This flat truss construction with shear teeth spans 18.40 meters and, contrary to the warnings of the builders, who had planned a massive flat vault for the grotto hall below, was designed as a wooden beam ceiling. Frederick the Great was expressly in favor of this cheaper option. But the construction had to be extensively renovated as early as 1774. [...] In 1791 further renovation measures were necessary. [...]
During the investigations into the renovation of the ceiling under the neighboring Great Chamber in February 2008, the structural wood of the ceiling between the grotto and marble hall was damaged so severely that its load-bearing capacity was no longer sufficient. The marble hall had to be closed to visitors. Protective roofs were erected in the grotto hall to protect visitors from falling stucco. The two ballrooms of the palace could only be visited to a limited extent and there was an urgent need for renovation. [...]"
"The Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg [Prussian Palaces and Gardens Foundation Berlin-Brandenburg] (SPSG) has completed the restoration of the marble hall in the New Palace in Potsdam, which began in May 2013. [...]"
(translated from www.spsg.de/nc/presse-foto-film/2016-04-11-wiedereroeffnu...)
Peace Bridge------a pedestrian / bike pathway connecting the Sunnyside community to downtown Calgary. The artistic red helical steel structure and glass roof looks futuristic.
The tubular bridge was manufactured in Spain and shipped to Calgary. Assembly of the bridge pieces started in Fall 2010 and the bridge was moved across the Bow River in November 2011. The bridge was opened to the public on March 24, 2012
Die künstlerische Ausgestaltung des Innenraums im ornamentalen Stil des Rokoko hat auf den heutigen Betrachter eine mitreißende Wirkung. Die Überwältigung ist ein geplanter Effekt: die Pracht der Kirche soll den Gläubigen von der Größe Gottes überzeugen. Der Himmel und das Jenseits werden buchstäblich auf die Erde geholt, so dass der Gläubige sie nicht nur ahnen kann, sondern plastisch vor sich sieht.
The artistic design of the interior in the ornamental style of the rococo has a rousing effect on today's viewer. The overpowering is a planned effect: the splendor of the church should convince the believers of the greatness of God. Heaven and the Hereafter are literally brought down to earth, so that the believer can not only guess, but visually see them.
La Grande Mosquée Sheikh Zayed - Abu Dhabi
Témoin de la vision de son fondateur, la Grande Mosquée Sheikh Zayed se dresse majestueusement à l'entrée de l'île d'Abu Dhabi. Elle est reconnue pour sa couleur pure car revêtue de marbre de Macédoine. Chaque élément de conception artistique a été soigneusement examiné et s'inscrit dans la vision globale de la mosquée.
As a testament to the vision of its founder, Sheikh Zayed Grand Mosque sits majestically at the entrance to Abu Dhabi City Island. The Grand Mosque is well recognized by its pure color, as it is clad with marble from Macedonia. Every artistic design element was carefully considered and fits into the overall vision of the Mosque.
Edited photo created by using "Paint Shop Pro 6". The original photo was taken on August 14, 2016 and the photo had only one pair of scissors. This image with four pairs of scissors was created on August 18, 2016.
Albuquerque International Balloon Fiesta 2015 (shown: detail of "Triple Clown").
"Coulrophobia" is the extreme or irrational fear of clowns. The beautiful and artistically designed hot air balloons that filled Albuquerque's skies recently affected every spectator, young and old. For some balloon fiesta spectators, the experience can be unsettling.
"Clown costumes tend to exaggerate the facial features and some body parts, such as hands and feet and noses. This can be read as monstrous or deformed as easily as it can be read as comical. The significant aberrations in a clown's face may alter a person's appearance so much that it enters the so-called uncanny valley—in which a figure is lifelike enough to be disturbing, but not realistic enough to be pleasant—and thus frightens a child so much that they carry this phobia throughout their adult life." --https://en.wikipedia.org/wiki/Coulrophobia
La Grande Mosquée Sheikh Zayed - Abu Dhabi
Témoin de la vision de son fondateur, la Grande Mosquée Sheikh Zayed se dresse majestueusement à l'entrée de l'île d'Abu Dhabi. Elle est reconnue pour sa couleur pure car revêtue de marbre de Macédoine. Chaque élément de conception artistique a été soigneusement examiné et s'inscrit dans la vision globale de la mosquée.
As a testament to the vision of its founder, Sheikh Zayed Grand Mosque sits majestically at the entrance to Abu Dhabi City Island. The Grand Mosque is well recognized by its pure color, as it is clad with marble from Macedonia. Every artistic design element was carefully considered and fits into the overall vision of the Mosque.