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The Georgia State Capitol, located at 206 Washington Street SW, was constructed from 1883 to 1889 to the design by Willoughby J. Edbrooke and Franklin P. Burnham of Chicago. Prior to 1868, Georgia's capitol sat in Savannah, Augusta, Louisville and Milledgeville. The capitol building, which sits on a five acre property occupied previously by the first Atlanta City Hall, highlights the democratic ideal of transparency in government with its wide open spaces and large windows. The offices of the governor, lieutenant governor and secretary of state are on the second floor. The third floor houses the General Assembly, or the legislative chambers--the 180-member House of Representatives, and the 56-member Senate. The fourth floor features visitors' galleries and the Georgia Capitol Museum. Under the rotunda is a Hall of Fame with marble busts of the Georgia signers of the Declaration of Independence, as well as other notable citizens from the past.
Designed in the Neo-Classical Renaissance Revival style, the gold domed capitol building's façade is dominated by a four-story, heroic portico, with a stone pediment supported by six columns in the composite order and six rusticated piers. Above the portico rises a dome and lantern covered with Georgia gold leaf, topped by a female statue of Freedom holding a lantern that reaches 237 feet high. Georgia marble was used for the interior floors, steps, and a facing for walls.
The Georgia State Capitol was designated a landmark building exterior by the Atlanta Urban Design Commission (AUDC) in 1989.
National Register #71001099 (1971)
This old bank building has been closed up for ages. Today I noticed a broken window above my head so I stuck my camera inside and this is what it saw. (sorry for the poor focus, I really was shooting blind!)
check out wendy's version.
In an attempt to get some fall colour shots in spite of dreadfully dull weather conditions, verging on rain but holding off (for the most part) for a few hours while I waited to transport some people home from a meeting in Caledonia, Ontario, I explored Caithness Street East. Here area located a number of fine old buildings that typify the architecture of Southern Ontario in the late 1800s and early 1900s. This particular building had the yellow brick accents typical of Scottish style buildings of the day, as well as the ornate gingerbread trim. On top of that it is pretty hard to resist the spectacular red and yellow fall colour display on the property. - JW
Date Taken: 2014-10-15
Tech Details:
Taken using a tripod-mounted Nikon D7100 fitted with a Nikkor 12-24mm Lense set to 18mm, ISO100, Aperture priority mode, f/7.1, exposure bias of EV+2.0 on a base exposure of 1/15 sec. PP in free Open Source RAWTherapee: increase exposure very slightly, slightly increase contrast, boost black, increase contrast and vibrance slightly, apply noise reduction, sharpen. PP in free Open Source GIMP: apply perspective correction to remove keystoning arising from use of a tilted wide angle lense, adjust colour balance slightly to remove slight magenta cast, remove some chromatic aberration traces in the lower right, use the healing tool and soft brush shape to remove steel post that projected into the frame near the right bottom of the frame, slightly reduce green channel only saturation to tone down the grass, sharpen, add fine black and white frame, add bar and text on left, scale to 1800 wide for posting.
06-23-11 B.C. Place, Vancouver, B.C.
Just after the Closing Ceremonies of the 2010 Winter Olympics, the pillow-like roof came off B.C. Place and construction began on a new, retractable fabric roof, held in place by cables. These four men are working on the metal supports for the non-moving portion of the roof, which is to be completed in time for Vancouver to host the Vanier Cup (championship of Canadian college football) and the Grey Cup (championship of Canadian professional football) games this autumn.
A reconstructed one-room schoolhouse at Upper Canada Village in Morrisburg, Ontario, Canada. Such log school houses were common during the 19th century and up to the 1860s.
Format: Lysbilde i farge, positiv
Dato / Date: Ukjent
Fotograf / Photographer: Trondheim kommune, Tekniske etater/Trondheim byarkiv
Sted / Place: Prinsens gate 2c (2018), før 27.05.1986 Prinsens gate 2a4, Trondheim
Oppdatert / Update: 18.10.2018 [Oppgjørskontoret]
Google Street View: goo.gl/maps/e2tCAMkHFP82
Wikipedia: Frelsesarmeen
Eier / Owner Institution: Trondheim byarkiv, The Municipal Archives of Trondheim
Arkivreferanse / Archive reference: Tor.H47.B59.F27223
PERRONGHALLEN (Perrånghall'n). Prinsens gt. 2 A IV. Byens første jernbanestasjon var den nåværende synagoge, Arkitekt Christies gt. 1 B. Inntil den mot sør var bygd en perronghall. Denne ble 1897 solgt av statsbanene til arkitekt Johan Kunig som i 1906 solgte eiendommen til Aktiebyggeselskapet "Dag". Hallen ble ombygd til forsamlingslokale av Frelsesarmeen som kjøpte den i 1916, og som i 1930 reiste sitt bygg "Frelsestemplet" der. [NB: I følge Byggesakskontorets registerkort ble denne forandring og utvidelse av bygget foretatt i 1925, ikke 1930.] Navnet P. hang ved eiendommen langt inn i dette århundre, selv om stasjonen ble nedlagt i 1883.
Kilde: Wilhelm K. Støren: Sted og navn i Trondheim (Trondheim 1986) s. 245.
Frelsesarmeen faar nyt lokale.
Perronhallen indkjøbt for 50,000 kroner.
Aktiebyggeselskapet "Dag"'s eiendom, Prinsens gate 2 a 4, ogsaa kaldet Perronhallen, er i disse dage solgt til Frelsesarmeen for 50,000 kroner. Salget er formidlet ved overretssakfører I. N. Højseth.
Frelsesarmeen har tidligere leiet lokale i samme hus, men dens virksomhet har tildels været sterkt hemmet paa grund av pladsmangel. Man har saaledes hittil savnet egnede lokaler til barne- og ungdomsarbeidet, likesom større møter har maattet henlægges til Cirkus, Verdensteatret eller Turnhallen. Denne mangel vil nu bli avhjulpet naar Frelsesarmeen efter kjøpet faar fuld disposition over huset. Der vil da bli indredet en større forsamlingssal og lokaler for Frelsesarmeens forskjellige virksomhetsgrene forøvrig.
Eiendommen blir sandsynligvis overtat med det aller første.
Kilde: Trondhjems Adresseavis (17.06.1916) s. 3.
Frelsesarmeens nye lokale.
Perronhallen overtages 1ste oktober.
Frelsesarmeen skal 1ste oktober overta sin nye eiendom Perronhallen i Prinsens gate. Armeens arbeide her i byen har i den senere tid lidt adskillig ved mangelen paa et tidsmæssig lokale, og det vil sikkert glæde dens mange venner at spørsmaalet med hensyn til lokale nu endelig kan bringes i orden.
Armeen maa imidlertid ved overtagelsen av eiendommen ut med en termin paa 11,000 kroner av kjøpesummen. Dette betydelige beløp maa - ialfald for den allerstørste dels vedkommende - skaffes ad frivillighetens vei. Stabskaptein Skjoldhammer fra hovedkvarteret er i den anledning kommet hitop og vil i de aller nærmeste dage avlægge besøk hos byens mere fremtrædende mænd for at bevæge dem til at yde armeen økonomisk støtte til erhvervelse av eiendommen.
Der kan neppe være tvil om at de mange venner av armeens opofrende menneskekjærlige arbeide vil træde støttende til her hvor det gjælder et spørsmaal av vital interesse for armeens virksomhet.
Kilde: Trondhjems Adresseavis (09.09.1916) s. 2.
Hele eiendommen var beslaglagt av Stadtkommandantur Drontheim fra 25. januar 1942 og inntil kapitulasjonen. Eiendommen var så i beslag av Distriktskommando Trøndelag (DKT) inntil 3. juli 1945. Justis- og Politidepartementet tilsto 23. desember 1949 billighetserstatning på kr. 3000 til Frelsesarmeen for skader og tap som følge av den tyske beslagleggelsen av Prinsens gate 2a4.
Kilde: Oppgjørskontoret: Frelsesarmeen - Prinsens gate 2a4 (F-0033)
Hall for sports and events for the Stadsskogen School and the Stadsskogen neighbourhood. The building is a low energy building with only minor transmission and ventilation losses, a so called passive house.
Built: 2013. Architect: Liljewall arkitekter.
Information about Passive Houses:
en.wikipedia.org/wiki/Passive_house
www.liljewall-arkitekter.se (website only in Swedish)
Sous Stanislas il s'agissait du siège de la Cour Souveraine et du Parlement. Il abrite aujourd'hui la Cour d'Appel.
Pays : France 🇫🇷
Région : Grand Est (Lorraine)
Département : Meurthe-et-Moselle (54)
Ville : Nancy (54000)
Quartier : Nancy Centre
Adresse : 2, place de la Carrière
Fonction : Cour d'appel de Nancy
Style : Classicisme
Construction : 1713
• Architecte : Germain Boffrand
Classé Monument historique (1924)
Niveaux : R+2
Hauteur : 20.00 m
At Llancaiach Fawr Manor near Nelson in Caerphilly, South Wales.
A house set in the time period of 1645 during the English Civil War.
There was actors inside the house as servants, who know nothing of what happens after 1645 (was supposed to be before Charles I visited the house - time period wise).
You first enter via a visitor centre. After you pay, they give you a guide book, and a note that you have to get stamped when you enter the manor.
Outside the manor. There is a formal garden at the front, and an orchard at the back.
The manor is Grade I listed.
Location
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls incorporating stone benches.
History
Built early C16 for the Prichard (ap Richard) family and mentioned in Leyland's Itinerary of 1537. First Lord of Manor and Under Sherriff in 1549 was David ap Richard. Alteration in 1628 by his grandson, David Prichard, provided the rear staircase wing, the panelling of the first floor chambers and alterations to some windows, involving the introduction of the rectangular transom and mullion windows. The family were involved in recurrent feuds between Glamorgan noblemen including the Lewis family with whom they had marriage connections. Colonel Edward Prichard (d 1655) played an important role in the Civil War, originally a Royalist - Charles I is reputed to have lunched at Llancaiach in 1645 - he subsequently became a supporter of the Parliamentarians, becoming Governor of Cardiff Castle and playing a significant role in the Battle of St Fagans. Lack of male descendants led to property passing out of family and functioning as a farmhouse when second floor was used for storage. Purchased by Rhymney Valley District Council in 1979 and restored as a visitor attraction which particularly interprets the Civil War. A resistivity survey established the plan for the formal walled gardens which have been recreated to front; to rear was an orchard shown on the Tithe Map of 1842 and the OS map of 1875. A water colour of the building as a farmhouse shows it rendered.
Interior
Interior is characterised by the multitude of staircases which, apart from the later large timber staircase to rear, are incorporated within the walls, thus providing a network of escape routes to an outwardly undefended building. Traditionally the number of staircases was said to equal the number of rooms - fourteen, of which nine staircases remain after periods of remodelling. Walls are mostly lime plastered and limewashed, mostly white though with some renewed colour and fragmentary traces of former colour. Ceiling beams are large and chamfered, some stopped, some supported by corbels, some heavily keyed, some limewashed. Most doorways have heavy double thickness doors comprised of vertical planks to front and horizontal to rear, some retaining their massive iron bolts; barricade holes in the walls behind show where they could be reinforced by bars; doorways are mainly Tudor-arched and chamfered, of stone or wood. Windows have deep splays and the main windows to each room incorporate stone seats; only one of the quarry glazed window panels opens, in Colonel Prichard's study, the westernmost room on second floor. Spiral metal fire escape installed in rear wing at time of modern restoration.
Ground floor is entered through porch with flag floor, stone benches, ceiling, door with vertical fillets and hinges across the whole width. Entrance hall has flag floor, a four-centred ceiling arch, two cupboard recesses in gable end wall, access to main timber staircase left and rear mural stairs to rear; partition opening and doorway to kitchen right. Kitchen has fireplace with wide wooden lintel and bake ovens; under rear window is a stone waste sluice. Servants' Hall access is through a lobby beside the chimney incorporating front mural stairs, the fireplaces back to back. Servants' Hall fireplace has timber lintel and chamfered jambs; wall recess, flag floor; windows to 2 elevations; steps up to store doorway in the rear wing, further mural steps and blocked steps adjacent. Stairs to vaulted cellar.
From entrance hall quarter-turn stone steps with twisted wooden balusters, moulded rails and newel posts rise to first floor landing which extends across the W end of house; a 4-centred arch, part of the C17 remodelling, frames the staircase to next floor. Great Hall is entered through a wide doorway, with original door, studded, 2 boards wide and with long strap hinges terminating in fleur de lys; mural stairs to front and 2 to rear; dais for high table is lit by large windows to front and rear; it backs onto the central chimney breast but there are now no first floor openings to this and the stone Tudor-arched fireplace, with moulded jambs and shallow bracketed mantelpiece, and painted blue with woad, is against the rear wall. Narrow doorway at front to room over porch, used as Stewards' Room, with windows on 3 sides, garderobe, 2 mural staircases, small fireplace with large Tudor-arched stone lintel. Lobby adjacent to dais corresponding with that on ground floor, doors at each end, leads to parlour. This has small-square panelling with a linenfold-type frieze; depressed-arched chamfered stone fireplace in rear wall is flanked by staircases either side with matching panelled doors, one mural, one leading to rear bed chamber and one to former mural staircase. This is also panelled with fluted frieze and billet-moulded cornice; former access to privy.
Main stairs to second floor retain some original balusters, rail and newel post. Corridor runs along rear elevation with timber-framed lath and plaster partition to the main two interconnecting rooms to front; square headed wooden doorways with moulded surrounds. In rear wing is a further chamber with garderobe off lit by tiny windows. At top of stairs is a later partitioned windowless cheese room fronted by matching balusters with stone chute adjacent; over the porch is the steward's upper apartment, access to roof space which has arch-braced trusses and 2 rows of trenched purlins; end room, described as counting house, has stairs flanked by low walls rising in the centre of floor and fireplace in gable end wall with depressed Tudor arch and moulded jambs; at rear a small opening to roof and pigeon loft over stairs.
Exterior
Semi-fortified gentry house. Main range aligned roughly E/W with front porch wing and two rear wings, at W an added staircase wing, at E a contemporary wing with attached garderobe shaft. Three storeys and attic to main house and wings, with first floor hall; vaulted cellar beneath rear wing. Stone rubble walls mostly in narrow courses with ashlar dressings, quoins, rendered W and SW elevations. Windows are of one-, two-, three- or four-lights, some with 4-centred heads and moulded spandrels, some ornamented, some square headed, most with square low hoodmoulds, with chamfered surrounds and moulded mullions, and under wide relieving arches, no sills; transom and mullion windows represent the C17 remodelling; leaded glazing is a mid C20 replacement. C20 Cotswold tile roof; rectangular stone stacks to main roof with caps at centre right ridge and on either side of ridge of NE rear wing; smaller stack at gable end left. Gables have stone coping, moulded apex stones and kneelers. Main house and wings are battered.
S entrance elevation of five bays. Gabled full-height porch wing in second bay from SW has gable end and lateral stacks, small Tudor-arched apex light; 2-light first floor square-headed mullioned window; ground floor Tudor-arched doorway, chamfered and stopped; small side lights and larger rectangular window to first floor. Bay to left of porch is rendered, with small light to second floor and larger to first floor. To right of porch extends the main 2-window range over 3 floors separated by small lobby lights. At left the windows are square headed: 3-light second floor window close under eaves; large first floor window to hall of 4 transom and mullion lights; ground floor window of 2-lights. To right the lights are narrow with 4-centred heads: small 2-light window close under eaves; large first floor 4-light window to parlour; similar smaller 3-light ground floor window - some replaced masonry. W gable end elevation has small lights to the upper floor and a 2-light window to ground floor.
Rear elevation is asymmetrical. Cross wing to right has roof extending lower to right (W), and incorporates two groups of 3 dove nesting holes and ledges; two 3-light windows under shallow hoods, the higher under a relieving arch. Centre 3-storey bay is recessed though stepped out at each side, the left accommodating a gabled garderobe chute corbelled out at eaves and with small lights, the right the flue to the hall chimney. Centre single window range with 4-light square-headed window with arched lights close under eaves, larger 4-light window with arched heads under a hood and relieving arch to first floor with small light adjacent; ground floor has small rectangular chamfered light. Wide more deeply projecting 4-storey cross wing to left also has an asymmetrical gable, though less pronounced; kneelers and quoins; single window to each upper storey all with 4-centred arched lights: single light with hood to attic, paired lights with hood, flat relieving arch, moulded spandrels to second floor; similar triple light window to first floor; cellar access at ground floor with steps down.
E elevation of 4 storeys has again an asymmetrical gable with single window range to left though flush with single window range to right; ridge stacks. Similar arched lights under hoods: single light to attic left; second floor has paired lights to left and right and small adjacent stair light; first floor has similar 4- and 3-light windows with adjacent stair light, the former matching that on the front S elevation which both light the main parlour; ground floor has similar 3-light window to left, and small rectangular window to right without a relieving arch.
Frontage gives onto a walled garden, parts of the E and S walls and the wall adjacent to the front path dating from before the C20 refurbishment, though with substantial sections rebuilt or raised.
Reason for Listing
Listed grade I as an outstanding manor house, especially interesting for its internal defensive arrangements, well repaired, conserved and presented.
References
Newman J, Glamorgan, Buildings of Wales series, 1995, pp 353-8;
RCAHMW, Glamorgan, The Greater Houses, 1981, pp115-126;
Llancaiach Fawr Manor, guidebook, nd;
Gelligaer Tithe Map 1842;
Ordnance Survey, First edition,scale 1:2500, 1875.
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Notes:
Close to the W community boundary which follows Nant Caeach, a short distance NE of Nelson and reached by a short track from the main road. Fronts a re-created formal garden, the surrounding walls inc
Source: Cadw
Listed building text is © Crown Copyright. Reproduced under licence.
The orchard behind the Manor contains old varieties of fruit trees and separates the privy garden from the kitchen and herb garden.
Resettlement village, Nakai Plateau, Khammoune Province, Lao PDR. Photo: Stanislas Fradelizi / World Bank
Photo ID: SF-LA007 World Bank
San Gimignano è un comune toscano di 7.105 abitanti situato in provincia di Siena.
Per la caratteristica architettura medioevale del suo centro storico è stato dichiarato dall'UNESCO patrimonio dell'umanità. Il sito di San Gimignano, nonostante alcuni ripristini otto-novecenteschi, è per lo più intatto nell'aspetto due-trecentesco ed è uno dei migliori esempi in Europa di organizzazione urbana dell'età comunale.
San Gimignano sorse su un sito abitato sicuramente dagli etruschi, almeno dal III secolo a.C., come testimoniano i numerosi ritrovamenti archeologici (soprattutto tombe) nel territorio circostante. Il colle era stato scelto sicuramente per questioni strategiche, essendo dominante (324 m s.l.m.) sull'alta Val d'Elsa.
Sulle pendici del Monte Maggio sono presenti i ruderi di Castelvecchio, un villaggio di epoca longobarda.
La prima menzione risale al 929.
Nel Medioevo la città si trovava su una delle direttrici della via Francigena, che Sigerico, arcivescovo di Canterbury, percorse tra il 990 e il 994 e che per lui rappresentò la XIX tappa (Mansio) del suo itinerario di ritorno da Roma verso l'Inghilterra. Sigerico la nominò Sce Gemiane, segnalando il borgo anche come punto di intersezione con la strada fra Pisa e Siena.
Secondo la tradizione il nome derivò dal santo vescovo di Modena, che avrebbe difeso il villaggio dall'occupazione di Attila.
La prima cinta muraria risale al 998 e comprendeva il poggio di Montestaffoli, dove già esisteva una rocca sede di mercato di proprietà del vescovo di Volterra, e il poggio della Torre con il castello vescovile.
San Gimignano è soprattutto famosa per le quindici torri medievali che ancora svettano sul suo panorama, che le hanno valso il soprannome di Manhattan del medioevo. Delle 72 tra torri e case-torri, esistenti nel periodo d'oro del Comune, ne restavano venticinque nel 1580 ed oggi ne restano circa quattordici ufficiali, con altre scapitozzate intravedibili nel tessuto urbano. La più antica è la torre Rognosa, che è alta 51 metri, mentre la più alta è la Torre del Podestà, detta anche Torre Grossa, di 54 metri. Un regolamento del 1255 vietò ai privati di erigere torri più alte della Torre del Podestà, anche se le due famiglie più importanti, Ardinghelli e Salvucci, non potendola rispettare, fecero costruire due torri poco più basse della torre "Grossa" di quasi eguale grandezza, per dimostrare la propria potenza.
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San Gimignano é uma comuna italiana da região da Toscana, província de Siena, com cerca de 7.105 habitantes. Estende-se por uma área de 138 km2, tendo uma densidade populacional de 51 hab/km2. Faz fronteira com Barberino Val d'Elsa (FI), Certaldo (FI), Colle di Val d'Elsa, Gambassi Terme (FI), Poggibonsi, Volterra (PI).
San Gimignano delle belle Torri fica 56 km a sul de Florença. Foi um importante ponto para as peregrinações até Roma pela Via Francigena. As famílias de patrícios que controlavam a cidade construíram cerca de 72 torres-casa (algumas atingem 50 m de altura) como símbolo do seu poder e riqueza. Embora hoje só existam 14 de tais estruturas, San Gimignano mantém a atmosfera feudal e é muito procurada pelos turistas. A pequena localidade contém muitas obras de arte datadas dos séculos XIV e XV.
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San Gimignano is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. It is mainly famous for its medieval architecture, especially its towers, which may be seen from several kilometres outside the town.
The town also is known for the white wine, Vernaccia di San Gimignano, grown in the area.
San Gimignano was founded as a small village in the 3rd century BC by the Etruscans. Historical records begin in the 10th century, when it adopted the name of the bishop Saint Geminianus, who had defended it from Attila's Huns.
In the Middle Ages and Renaissance era, it was a stopping point for Catholic pilgrims on their way to Rome and the Vatican, as it sits on the medieval Via Francigena. The city's development also was improved by the trade of agricultural products from the fertile neighbouring hills.
In 1199, during the period of its highest splendour, the city made itself independent from the bishops of Volterra. Divisions between Guelphs and Ghibellines troubled the inner life of the commune, which nonetheless, still managed to embellish itself with artworks and architectures.
Saint Fina, known also as Seraphina and Serafina, was a 13th century Italian saint born in San Gimignano during 1238. Since Saint Fina died on March 12, 1253 her feast day became March 12. Her major shrine is in San Gimignano and the house said to be her home still stands in the town.
On May 8, 1300, San Gimignano hosted Dante Alighieri in his role of ambassador of the Guelph League in Tuscany.[citation needed]
The city flourished until 1348, when the Black Death that affected all of Europe, compelled it to submit to Florence. San Gimignano became a secondary centre until the 19th century, when its status as a touristic and artistic resort began to be recognised.
While in other cities, such as Bologna or Florence, most or all of their towers have been brought down due to wars, catastrophes, or urban renewal, San Gimignano has managed to conserve fourteen towers of varying height which have become its international symbol.
There are many churches in the town: the two main ones are the Collegiata, formerly a cathedral, and Sant'Agostino, housing a wide representation of artworks from some of the main Italian renaissance artists.
The Communal Palace, once seat of the podestà, is currently home of the town gallery, with works by Pinturicchio, Benozzo Gozzoli, Filippino Lippi, Domenico di Michelino, Pier Francesco Fiorentino and others. From Dante's Hall in the palace, access may be made to a Majesty fresco by Lippo Memmi, as well as the Torre del Podestà or Torre Grossa, 1311, which stands fifty-four metres high.
The heart of the town contains the four squares, the Piazza della Cisterna, the Piazza Duomo where the Collegiata is located, the Piazza Pecori and the Piazza delle Erbe. The main streets are Via San Matteo and Via San Giovanni, which cross the city from north to south.
Classic Decatur, IL--Staley Building (now Tate & Lyle), railroad crossing, traffic lights, pawn shop, and Save-a-Lot. This is at U.S. Route 36.
Scots Church (Vienna)
Side view of the Freyung with vista to Scots Church, right in white the so-called Schubladkastenhaus (drawer castes house)
The medieval Scots Church
(further pictures you can see by clicking on the link at the end of page!)
The Freyung, seen from the southeast to 1758
Interior of the Church of the Scots
Main entrance to the Scots Church
Monument to Jasomirgott, the founder of the Scottish monastery, on the south-facing exterior wall of the church.
The Scots Church (Basilica of Our Lady to the Scots) is a Roman Catholic parish church in Vienna and at the same time the abbey church of a Benedictine abbey, the Schottenstift. It is located on the Freyung, Viennese 1st district Innere Stadt.
History
The old Scots Church
Already shortly after the foundation of the Vienna Scots monastery by Duke Henry II Jasomirgott in the year 1155, was began with the construction of the Scots church, it was consecrated in 1200 by the Bishop of Passau Wolfger of Erla. From this first, Romanesque church, a three-nave pillar church with an apse, only remnants in the Dark Sacristy and the Romanesque chapel are preserved. In the latter, which today serves as a day chapel, also a Romanesque statue of Mary Our Lady to the Scots (around 1250), the oldest representation of Mary of Vienna, can be found.
When Henry Jasomirgott died in 1177, he was buried according to his wishes in the Scots Church in a high grave (cenotaph). Later, his wife Theodora and his daughter Agnes were laid to him.
After disputes with the Viennese vicar, the Scots obtained as a result of an arbitration award papal delegated judges on 28 August 1265 parochial rights for their Viennese territory, firstly with restrictions on the baptismal and burial rights, from 1269, completely unlimited.
1276 the Scots Church fell victim to a great city fire, and so it was renewed to 1317 in early Gothic style. After an earthquake in 1443 damaged the church, the choir 1446-1469 was gothically redesigned. For this choir was 1469-1475 a large altar created, the so-called Scottish master altar.
Master of the Schotten Altar Vienna
Master of the Schotten Altar Vienna: Flight to Egypt (detail), 1470
The Master of the Vienna Scots Altar or also Vienna Scots Master was an in to 1470 in the Austrian range active painter of the Late Gothic. Because his real name is unknown, he is named after the by him for the Schottenstift (monastery) in Vienna created large wing altar, the so-called "Vienna Scots altar". The Master is considered as one of the most important Dutch or Upper Rhine influenced painter in the Austria of his time. His influence should be gone over his students far beyond the Vienna area. Thus, an altar in the Margaret Church of Medias in Transylvania (Siebenbürgen) is considered to come from his school.
de.wikipedia.org/wiki/Meister_des_Wiener_Schottenaltars
Baroque reconstruction
The collapse of a tower after lightning strike was taken in 1638 by Abbot Johann Walterfinger as a reason firstly the choir and the tower of church completely to overhaul. Here, however, was reduced the length of the church, so that the tower today is not directly connected to the longhouse. The establishment of the barrel-vaulted pilaster church with hinted transept was procured under Abbot Anton Spindler of Hofegg by the architects Andrea Allio the Elder, his cousin Andrea Allio the Younger and Silvestro Carlone. In the course of this new building also the crypt of the Schottenstift was layed out. The new church was on 31th May 1648 consecrated by the Viennese bishop Philipp Friedrich von Breuner.
With the stone carvings was charged the imperial court sculptor and court stonecutter Peter Concorz, sculptor at Freyung. For this purpose, he bought a quarry in Kaisersteinbruch (Lower Austria), according to the contract with Abbot Michael II Schnabel from Heiligenkreuz Abbey. 1651 established the Hofsteinmetzmeister (court stonecutter) Bartholomew Khöll the main entrance of the tower facade. For the niche the sculptor Tobias Kracker created the statue of Mary with child.
The Baroque painter Joachim von Sandrart created for the Scots Church the paintings of the Apostles altar (1652) and the cross altar (1654) as well as the new high altarpiece Heavenly Glory (1671), which today is located in the Prälatensaal (prelate's saloon) of the Schottenstift. Tobias Pock painted the altarpieces of St. Mary's altar, of the Benediktusaltar (both 1651-1655) and of Sebastianaltar (1655-1658) as well as an at the end of the 20th Century again uncovered fresco of the St. Wolfgang (about 1655).
After the second Turkish siege the church was restored again. Since the baroque west towers hardly overtop the facade, there have been plans to increase it - but never got to it. For Ernst Rüdiger von Starhemberg, the defender of Vienna in the Turkish siege which was buried in the crypt of the Scots church, designed Joseph Emanuel Fischer von Erlach to 1725 an epitaph in the church.
Transformations in the 19th and 20 Century
From 1883 to 1887 Abbot Ernest Hauswirth had the church restored and partially remodeled. Except for Benedict and Gregorius altar the Baroque altars were replaced by altars in the neo-Renaissance and neo-Baroque style. It emerged a new high altar after designs of Heinrich Ferstel with a mosaic of Michael Rieser and new ceiling paintings by Julius Schmid. The founder Henry Jasomirgott, who had been reburied several times over the centuries, got in 1901 in the crypt of the Scots church a neo-Roman sarcophagus as yet final resting place.
In 1958 the Scots Church by Pope Pius XII. was raised to the rank of a minor basilica.
Under Abbot Heinrich Ferenczy in the years 1992 to 1994 the choir was accordingly to the liturgical reforms of the 20th Century transformed. The new main altar was placed at the intersection of the two main axes, the ambo before the altar in the center axis of the nave. New built was also a new choir stalls.
Organs
Among the monastery organists who worked at the Scots Church are included Wolfgang Schmeltzl (1550s-years, as schoolmaster), Johann Rasch (1570-1601), the former court organist Georg Piscator (1649-1660), the great Baroque musician Johann Joseph Fux (1696 -1702), Johann Baptist Henneberg (about 1783) and the current St. Pölten organist Louis Lussier (2000-2006). Current Stiftsorganistin (monastery organist) is Zuzana Ferjenčíková (since 2006).
In the wake of the last church renovation two new organs were placed in the Scots Church. Both the choir organ (1994) as well as the main organ (1996 ) were built by the Swiss Organ Manufactory Mathis.
Choir Organ
The choir organ has 20 stops on two manuals and pedal. The instrument was along the lateral choir walls in two parts layed out, on the right is as epistelorgel (epistle organ) the main section with the play table, left as Gospels organ behind an identical prospectus the swellable side section and pedal.
I Hauptwerk C-g3
1 Principal 8'
2 Reed flute 8'
3 Octave 4'
4 Flute 4'
5 Quinte 22/3'
6 Superoctave 2'
7 Mixture V 11 /3'
8 Trumpet 8'
II Brustwerk (swellable) C-g3
9 Holzgedackt 8'
10th Salicional 8'
11th Spitz Flute 4'
12th Nasat 22/3'
13th Waldflöte 2'
14th Third, 13/5'
15th Quinte 11/3'
16th Wood Shelf 8'
tremulant
C- pedal f1
17th Subwoofer 16'
18th Praestantflöte 8'
19th Choir Albass 4'
20th Bassoon 16'
Couplers: II / I, I / P II / P
Main organ
The main organ found nomination in the historic prospect, which had been created for the former organ of Ignaz Kober (1804). The instrument with mechanical play and Registertrakturen (stop actions) with electronic combination system has 49 stops on three manuals and pedal.
I Hauptwerk C -g3
1 Praestant 16'
2 Octave 8'
3 Harmonique Flûte 8'
4 Bourdon 8'
5 Viola di Gamba 8'
6 Octave 4'
7 Spitz Flute 4'
8 Quinte 22/3'
9 Doublet 2'
10th Mixture IV 2'
11th Scharff IV 1'
12th Cornet V 8'
13th Bombard 16'
14th Trompette 8'
II Rückpositiv C -g3
15th Gedackt 8'
16th Quintade 8'
17th Praestant 4'
18th Reed flute 4'
19th Sesquialtera II 22 /3'
20th Octave 2'
21, Waldflöte 2'
22, Larigot 11/3'
23, Cymbals IV 1'
24th Cromorne 8'
tremulant
Swell III C -g3
25th Bourdon 16'
26th Portunalflöte 8'
27th Salicional 8'
28th Voix Céleste 8'
29th Principal 4'
30th Octaviante Flûte 4'
31, Salicet 4'
32nd Nasat 22/3'
33rd Octavin 2'
34th Third, 13/5'
35th Plein Jeu V 22 /3'
36th Harmonique Trompette 8'
37th Basson - Hautbois 8'
38th Voix Humaine 8'
39th Harmonique Clairon 4'
tremulant
C- pedal f1
40th Under 32'
41st Principal 16'
42nd Subwoofer 16'
43rd Octavbass 8'
44th Bourdon 8'
45th Choir Albass 4'
46th Hintersatz V 4'
47th Trombone 16'
48th Prong 8'
49th Clairon 4'
Couplers: II/I, III/I, III/II, I/P II/P III/P
Play Help: Organo Pleno (principals, basic votes, I and P)
Baptisms, weddings, funerals
Among the many people who have been baptized in the Scots church, are included the rococo painter Giovanni Antonio Guardi, the Porzellanmodellierer (porcelain modeler) Anton Grassi and the film director Fritz Lang. In the Scots church have married the portrait painter Frans Luyckx, the Baroque musician Johann Joseph Fux, the stonemason Johann Paul Schilck, the Baroque painter Paul Troger, the musician Franz Anton von Weber and the orientalist Joseph von Karabacek.
In the crypt of the Scots Church lie buried the founder Duke Henry II Jasomirgott, his wife Theodora and his daughter Agnes as well as the defender of Vienna, Count Ernst Rüdiger von Starhemberg, the High Steward Prince Johann Ferdinand of Porcia, the Field Marshal Count Ludwig Andreas von Khevenhüller, the diplomat Count Amadeus Gottlieb Windisch-Graetz, Franz Freiherr (baron) von Lisola and Johann Rudolf Schmid Baron of Schwarzenhorn, the sculptor Johann Jacob Pock and the painter Paul Troger. On the 1751 abandoned Voglsang cemetery next to the Church the painter Frans Luyckx was buried.
For the composer Joseph Haydn, who had initially been buried because of the occupation of Vienna by the French only in all quietness on the Hundsturmer cemetery, was celebrated on 15th June 1809 a great memorial service in the Scots Church, on the occasion was sang Mozart's Requiem.
de.wikipedia.org/wiki/Schottenkirche_(Wien)
(if you don't go away but to the end of page you can see further pictures and information!)
Schubladkastenhaus
1st district, Freyung 7
The monastery builder of Schottenstift at Freyung, Andreas Zach (25/09/1736 - 02/16/1797), built between 1773 and 1774 according to designs by Franz Zach an adjacent to the Scots church residential building for the monastery, a so-called the Prioratshaus (Priory-House). In the design of the building Zach differed from the then for the high baroque customary features by building up all the floors of the house similarly and rounding off the corners of the facade strongly. The height of all floors is almost the same, and the window axes extend from top to bottom as good as identical, and a main floor is not marked. The reason for this was not alone the idea of Zach's but a Building Regulation, which came into force and prescribed to use as much as possible the space in new buildings, so no overheight ceremonial premises and floors to calculate.
However, the Viennese population was outraged by the simplicity of the facade in those days and called the house mockingly "Schubladkastenhaus" because the shape and the arrangement of the building, in fact, are reminiscent of a multi-storey dresser.
For today's eye the baroque-classicist Priory-House fits perfectly into the ensemble of Freyung. The magnificent portal in the center of the minim prominent central risalit, which is roofed over by a large triangular pediment and divided with pilasters, stands out from the rusticated ground floor and the mezzanine. The symmetry of the building additionally is accentuated by three large identical chimneys on the roof gable. Today, on the ground floor are located a pharmacy and a herb house.
www.planet-vienna.com/spots/schubladkastenhaus/schubladka...
Looking east along the nave through to the chancel, with the Victorian marble and stone font in the foreground.
An official postcard of Alex shortly before the re-modelling of Alexanderplatz, pedestrianisation and removal (until recent restoration) of trams. The Tatra 603 is in a less formal hue. On the right, the famous Berolina house 8-storey with reinforced concrete skeleton , built in 1930-2 according to designs by P. Behrens. Both it, and its twin (Alexanderhaus) opposite somehow managed to survive the Battle for Berlin, albeit damaged and will also surive the current second remodelling of Alexanderplatz - which has already thrown up a building more hideous than anything ever constructed in GDR times. A significant pair of buildings,the only 2 to reach fruition in a bold 1920s plan to remodel Alex.. The Berlin C2 central post office was behind the Tatra. DDR postcard publishers always tried to incorporate a nice car into the picture to give an impression of affluence.
Outside the Alexanderhaus, between 1933 and 1944, when it mysteriously disappeared, stood the 7.5m high bronze sculture of Berolina, the work of the East Prussian Emil Hundrieser (1846-1911). It was erected in 1895,but removed in the mid 20s for U-Bahn work, and because it conveyed messages of Prussian militarism. Public outcry brought it back in 1933 for a further 11 years when it is believed to have been melted down. It stood on a 6m plinth but was rather squeezed between the roundabout and the obtuse angle in the Alexanderhaus.
An interesting 2003 document with history and future plans for Alex is found here, full of photos new and old
www.stadtentwicklung.berlin.de/planen/staedtebau-projekte...
sveti jovan kaneo church near the lake of ohrid. the movie 'before the rain' have been shot partially in this location.
With a new building going up that looks like it will be one of the tallest in the country. View from the Queen's Walk adjacent to City Hall.
Postcard of the Physics and Electrical Engineering Building. Printed on front: "Chemistry Bldg. M.A.C. No. 18." Text on back: "Late Physics (1925-1949), 1949-Library annex"
Not dated.
Repository Information:
Michigan State University Archives & Historical Collections, Conrad Hall, 888 Wilson Rd., Room 101, East Lansing, MI 48824, archives.msu.edu
Subjects:
Michigan State University -- Buildings -- Physics and Electrical Engineering
Resource Identifier:
A001148
The 143,404 square metres satellite building accommodates international flights departing and arriving at KLIA. Passengers have to travel to the satellite building via the Aerotrain. There is a wide array of duty-free shops and prestige brand boutiques in the satellite building. This includes international brands such as Burberry, Harrods, Montblanc, Salvatore Ferragamo and Mango. Among all international labels available within the terminal, some boutiques such as Harrods are only available in the airport. A number of restaurants and international airlines' lounges are available as well as an Airside Transit Hotel.
Within the terminal, wireless internet (Wifi) is provided free of charge. The terminal also has prayer rooms, showers and massage service. Various lounge areas are provided, some including children's play areas and movie lounge, broadcasting movie and sport channels. The terminal also features a natural rainforest in the middle of the terminal, exhibiting the Malaysian forests. The gates in Satellite Terminal A have the prefix C. The Satellite A Terminal has 27 boarding gates altogether. en.wikipedia.org