Alaskan Way Viaduct and Seattle's Waterfront
View allAll Photos Tagged Completion
Tiefenbronn is a small medieval town that was first mentioned in 1105.
Here we have a view down the Franz-Josef-Gall-Straße towards the steeple of the over 600 years old St. Maria Magdalena church.
The main body of the church was built from 1380 to 1399, the steeple is a later addition, its completion is dated to 1513.
© All Rights Reserved - you may not use this image in any form without my prior permission.
This building originally dates to 1502 (completion). It served as one of the main granaries of the town. The name Mauthalle (= customs hall) dates to the 19th century when the building served as the customs headquarters of Nuremberg (Maut = customs duties). The building is 84 m long, 20 m wide and 29 m tall.
During an allied bombing raid in the night of March 8th/9th 1943 the roof structure burned out, the building was covered with a provisional roof afterwards. During another allied bombing raid on October 3rd 1944 the walls received just slight shrapnel damage, but finally during the bombing raid on January 2nd 1945 the building was hit heavily, the eastern gable and the southern walls collapsed, the building burned out completely.
Reconstruction after WWII lasted from 1951 to 1953 in slightly simplified form.
Today it serves as an office building with shops in the ground floor, the basement houses the restaurant Mautkeller which features a microbrewery.
© All Rights Reserved - you may not use this image in any form without my prior permission.
This building is near completion and I think I stumbled across it at just the right time. When I photographed it all the windows were still protected by a blueish protective coating of some kind which I think added to the distinct look of the building. If you look closely you'll see that the exterior is clearly unfinished as the base of the balconies have not yet been clad.
Apologies to anyone that commented on my "Cost of Covid" triptych picture that I posted yesterday. It obviously did not strike a chord with people and as I was unsure of it myself I thought I'd take it down.
Thank you so much for your visit..!
Great blues nest building. I believe all the nest are completed. Seeing some egg rolling. Swatara creek, Hummelstown, Pennsylvania.
1/125 sec. f/6.3 552mm ISO100
The Washington Monument, designed in the simple shape of an ancient Egyptian obelisk, was built in honour of George Washington. Constructed between 1848 and 1884 it was the tallest structure in the world at the time of completion, until the construction of the Eiffel Tower in France in 1889. The monument however remains the world's tallest stone structure and the world's tallest obelisk, standing 554 feet 7 11/32 inches (169.046 m) tall. It has an aluminum apex, which at the time of casting was the largest piece of aluminum in the world with Aluminum being relatively unknown having a value similar to silver. The slight change in shading of the marble at 46m (150ft) came from a halt in construction between 1854 and 1877 due to lack of funds and the civil war with construction eventually resuming from a different source of stone. National Mall, Washington DC, United States of America. Took this shot this evening, so its a rare post for me to share the day it was taken!
www.robertdowniephotography.com
Love Life, Love Photography
The Theodore Roosevelt Lake Bridge is a vehicular bridge traversing Theodore Roosevelt Lake between Gila County and Maricopa County, Arizona.[2] Prior to its completion, traffic on Arizona SR 188 traveled directly on top of the Theodore Roosevelt Lake Dam. The bridge's completion relieved traffic over the dam. It had been designed to accommodate the width of two Ford Model-T automobiles, but increasing vehicle widths meant that the dam could only support one-way traffic until the new bridge opened.[3]
Per the United States Bureau of Reclamation, in 1995, along with other bridges such as the Brooklyn Bridge and Golden Gate Bridge, the bridge was listed by the American Consulting Engineers Council as one of the top twelve bridge designs in the United States,[3] and is the "longest two-lane, single-span, steel-arch bridge in North America".[3] The build contract was awarded to Edward Kraemer & Sons, Inc. of Plain, Wisconsin,[1] with an overall total cost of $21.3 million USD in 1992.[3] It was initially painted sky blue, but has since turned white.[4]
Steel material for the bridge was originally a part of the Washington Street elevated in Boston, Massachusetts. When the elevated was torn down in 1987, the steel was shipped to Japan and melted into bars, then shipped again as building materials.[5]
This bridge was the beginning or ending of the Apache Trail, a very scenic dirt road all the way to Phoenix depending on which way you were going. It takes several hours to complete. Our monsoons destroyed parts of the trail some years ago and they just got it repaired and reopened it last year. It is a very scenic drive and worth while taking the trip if you love the outdoors in Arizona. It is one of my favorite drives but not for the faint of heart :)
The Apache Trail in Arizona was a stagecoach trail that ran through the Superstition Mountains. It was named the Apache Trail after the Apache Indians who originally used this trail to move through the Superstition Mountains.
The historic Apache Trail linked Apache Junction (33.4152°N 111.5807°W) at the edge of the Greater Phoenix area with Theodore Roosevelt Lake (33.6725°N 111.1531°W), through the Superstition Mountains and the Tonto National Forest.
From Apache Junction heading northeast to Tortilla Flat, the Trail - named The E. Apache Trail (Arizona State Rt 88) at this point - is paved, turning into a dirt road a few miles east of Tortilla Flat, and continuing as such for nearly the full remainder of its length. The section east of Apache Junction is known officially as State Route 88. It is also the main traffic corridor through Apache Junction, turning into Main Street as the road passes into Mesa, and regains the Apache name by becoming Apache Boulevard in Tempe, ending at Mill Avenue. Prior to the completion of the Superstition Freeway in 1992, the Apache Junction portion of the Apache Trail was part of US Highway 60, which was rerouted to the Superstition Freeway once it was completed.
The Trail winds steeply through 40 miles (64 km) of rugged desert mountains, past deep reservoir lakes like Canyon Lake and Apache Lake. The narrow, winding road is unpaved from just east of the town of Tortilla Flat to Roosevelt Dam; there are steep cliff drops and few safety barriers. The trail requires caution when driving and it is not recommended for large RVs, SUVs, or caravans. Some large RV rental companies in the US do not allow their vehicles to be taken on this route.
Fires and floods in 2019 resulted in a massive landslide between the Fish Creek Hill Overlook and Apache Lake Marina.[1] This section of road was closed for repairs, and reopened in September 2024.[2]
Some examples of AI generated country music and videos :) What will be next :) Don't know if I am ready for this new AI world :)
www.youtube.com/watch?v=VtNtsxtFsPg
My Texas Lady - A Country Love Anthem
www.youtube.com/watch?v=WOLk_di0igo
Longing for a Cowboy
www.youtube.com/watch?v=lInrWfMIirE
Sippin' Tennessee Gold
Clockwise from top:
Nearing completion of a $50M Renovation sporting a new façade by Gensler is 399 Park Avenue - 1961 - originally designed by Carson Lundin & Shaw and Kahn & Jacobs
Seagram Building NYC - 1958 - Design Architect: Ludwig Mies van der Rohe
One Hundred East Fifty Third Street NYC - 2017 - Design Architect: Foster + Partners; Associate Architect: Schuman, Lichtenstein, Claman & Efron
Citigroup Center NYC - 1977
Designed by architect Hugh Stubbins and structural engineer William LeMessurier
Europe, The Netherlands, Zuid Holland, Rotterdam Zuis, Rijnhaven metro station, Crane (slightly cut from T)
A crane of the 'The View' building site, seen above the Rijnhaven metro station. Shortly after its completion the station wasn't very well rated during an international architecture contest. The jurors wrote: "It's the epitome of civil disobedient engineers' work". After a makeover, the station looks less brutalist.
Shot with the Sigma 85 / 1,4 wide open, hence the nice and shallowish DoF.
This is number 627 of of Rotterdam Architecture.
Despite being a substantial village before the Norman Conquest, the description of Alwalton in the Doomsday Book makes no mention of a church. However, they were certain that there was a church a century later because the earliest parts of the present building date back from 1170 and were clearly the extension of an existing building.
This 1170 work (the first two bays of the north aisle with their solid piers, round arches and skilfully carved leaf volute capitals) is not only the most ancient part of the church, it is also the most beautiful.
During the early 13th century the church was considerably extended. The tower was built and the nave lengthened by the insertion of an extra bay at the west end and widened by adding a south aisle. It seems likely that the wonderful carving around the west door was also carried out at this time but it could have been earlier, having been moved from another part of the church.
With the completion of the 13th century work the church became much as we see it today, except for the transepts and chancel. But things might have been very different if plans to rebuild the church around 1300 had been successful. At that time work began on the construction of a central tower along with a high vaulted chancel and vaulted transept. Inexplicably, after about 30 years, the work ceased. The partly completed tower was taken down and only the chancel and transepts remain from this grandiose plan.
During the next 500 years there was only one major alteration and this took place during the 15th century. The nave walls were raised to form a clearstory and the church was re-roofed. Adding the clearstory involved building new arches at the crossing and it was at this time that the 13th century vaulting in the chancel and transepts was destroyed. Traces of the vaulting can still be seen on several walls but we can only imagine how splendid the building would now be if this magnificent ceiling had survived.
By the middle of the 19th century the church had fallen in to a sorry state and extensive repairs were begun in 1840
After several months of postponing the completion of this project, I’m proud to say that it is now officially finished!
It was without a doubt one of the most challenging projects I’ve ever taken on, mainly because of the ship, which presented me with quite a few difficulties. From the very beginning of the build, I set myself the goal of using dark brown tiles to construct the hull, which forced me to reach a new level of LEGO maths and carefully plan the ship’s internal structure.
I decided to use many hinges, clips, bars, and especially the new 1×1 clips with stud, which quickly became one of my favorite elements in my entire collection.
As for the building process itself, even though it took quite a long time, it was very enjoyable, mainly thanks to the polar theme, which I’m a huge fan of and will certainly return to in the future.
I would also like to give a big thank you to everyone who contributed to the creation of this project. Special thanks go to the Builder Improvement Initiative community, where I shared early WIPs and received a lot of very helpful feedback, as well as to all the other people who supported the development of this project in any way :)
SWEDEN
In 1901 the drawing were approved for a new Church,which would relieve St.Peter`s and St.Paul`s parishes,where the population growth was large.Construction started in 1903,with a planned completion date of 1906,which was when St.John`s Parish was founded .The Church was finally inaugurated by Bishop Gottfrid Billing on Holy Teinity Day,june 1907.Designed in the Art Noveau style by Axsel Anderberg.
Tower height: 60,2m.Height to ceiling 26,13m. Length of Church 52,27m.
Both externally and internally,the Church is adorned with roses cut and carved by hand,which is why it is called "The Church of Roses".The are more than 1,000 roses in the Church.
The Royal Palace of Madrid is the official residence of the King of Spain; However, the royal family does not live there, but rather in the Zarzuela Palace, which is why it is used for state ceremonies and solemn events.
With an area of 135,000 m² and 3,418 rooms (almost double that of Buckingham Palace or the Palace of Versailles, it is the largest royal palace in Western Europe and one of the largest in the world. It houses a valuable historical heritage- artistic, highlighting the set of musical instruments known as the Stradivarius Palatinos, and very relevant collections of other disciplines such as painting, sculpture and tapestry. The State rooms and artistic ,collections are open to visits as long as there are no official events.
The palace was built by order of King Philip V, on the site left by the Royal Alcázar, almost completely destroyed by a fire in 1734. Both the foundations of the old fortress and some of its structures were used for the construction of the new palace. The fire episode served to justify the replacement of the old building with a palace in accordance with the taste of the time. Its construction began in 1738, according to plans by the architect Filippo Juvara, who proposed a larger palace, but in a different location. When Juvara died, the project was entrusted to his disciple Juan Bautista Sachetti, who was required to adapt Juvara's plans to the site of the old Alcázar. Other distinguished Spanish architects such as Ventura Rodríguez participated and were trained in the quarry of the new palace; the configuration of the Royal Chapel is due to him. Francesco Sabatini was in charge of the completion of the building, as well as secondary renovation, expansion and decoration works. Charles III was the first monarch to continuously inhabit the palace.
C-GPFU, a Bombardier BD-700-2A12 Global 7500, backtracking on runway 33 at Downsview Airport in Toronto, Ontario. Serial number 70067 was departing as BBA22 (Bombardier Aerospace) to Dorval, Quebec. There it was prepared for delivery to its new owner at the Laurent Beaudoin Completion Centre.
“Rushing into action, you fail.
Trying to grasp things, you lose them.
Forcing a project to completion,
you ruin what was almost ripe.
Therefore the Master takes action
by letting things take their course.
He remains as calm at the end
as at the beginning.
He has nothing,
thus has nothing to lose.
What he desires is non-desire;
what he learns is to unlearn.
He simply reminds people
of who they have always been.
He cares about nothing but the Tao.
Thus he can care for all things.”
― Lao Tzu, Tao Te Ching ©www.ludwigriml.com
The Harold Washington Library opened on October 7, 1991. Since completion, the library has appeared in the Guinness Book of Records as the largest public library building in the world. For more interesting facts check en.m.wikipedia.org/wiki/Harold_Washington_Library.
Thank you for your visit 😊
La idea de construir un temple expiatori (és a dir, a partir de donatius) dedicat a la Sagrada Família va partir del llibreter Josep Maria Bocabella, inspirat pel sacerdot Josep Manyanet —canonitzat el 2004—, fundador de la Congregació de Fills de la Sagrada Família i de la Congregació de Missioneres Filles de la Sagrada Família de Natzaret, encarregades de promoure el culte a la Sagrada Família i de fomentar l'educació cristiana de nens i joves.[6] El 1866, Bocabella va fundar l'Associació de Devots de Sant Josep, entitat dedicada entre altres qüestions a recaptar fons per a la construcció d'un temple. Per a la difusió de la seva tasca, va editar a partir del 1867 una revista, titulada inicialment El Propagador de la devoción a San José, inspirada en la revista francesa Le propagateur de la dévotion à Saint Joseph, publicada a Dijon pel pare Joseph Huguet.[7][b]
El 31 de desembre de 1881, Josep Bocabella va comprar per 172.000 pessetes uns terrenys situats a la zona del Poblet, aleshores una barriada de Sant Martí de Provençals.[8][9][c][10] Delimitats pels carrers de Mallorca, Provença, Marina i Sardenya, corresponien a una de les illes del Pla Cerdà, la qual, però, era més gran que les altres perquè, en principi, estava previst construir-hi un hipòdrom.[8]
El projecte fou encomanat a l'arquitecte Francesc de Paula Villar i Lozano, que va traçar un projecte neogòtic amb una església de tres naus amb creuer i un absis amb deambulatori, rebutjant la idea de Bocabella de fer una rèplica del santuari de Loreto, que se suposa va ser la casa de Josep i Maria a Natzaret.[11] El dia de Sant Josep de 1882, el bisbe Urquinaona posava la primera pedra,[12][13][14] coincidint amb la proclamació al Concili Vaticà I de sant Josep com a patró de l'Església Universal. Els desacords de Villar amb Bocabella van fer que aquest demanés assessorament a l'arquitecte Joan Martorell i Montells i van provocar la dimissió del primer. Aleshores, es va oferir el càrrec a Martorell, però aquest el va rebutjar i va recomanar Gaudí, que havia treballat per a ell com a ajudant, i el 1883, assumí la direcció de les obres.[15]
El desembre de 1884, Gaudí signà el projecte de la capella de Sant Josep a l'absis de la cripta, que fou inaugurat el 19 de març de 1885, en el qual intervingueren els escultors Llorenç Matamala i Piñol i Carles Mani.[16] Se sap que en aquest any hi treballaven un equip de vuit paletes, deu picapedrers, dotze escultors i un nombre indeterminat de fusters i serrallers.[17] El 1891 van començar les obres de la façana del Naixement,[cal citació] i des del 1895, la gestió del projecte va a càrrec de la Junta Constructora del Temple Expiatori de la Sagrada Família, una fundació canònica per a promoure la construcció del temple mitjançant donatius i iniciatives privades.[cal citació]
A partir de l'encàrrec de la casa Milà de l'any 1906, Gaudí pràcticament es concentraria només en l'obra de la Sagrada Família que, de fet, ocuparia tota la seva carrera, ja que feia un quart de segle que en dissenyava i dirigia la construcció i moriria fent-ho; així i tot, el temple només quedava embastat.[18] Va poder veure'n construïda una part del costat de l'Epístola amb la façana del Naixement, de la qual només la torre de sant Bernabé estava acabada totalment i una part del mur exterior de l'absis.[cal citació]
El 12 de juny de 1926, Antoni Gaudí va ser sepultat a la capella de la Mare de Déu del Carme de la cripta.[cal citació] A la seva època, hi van col·laborar molts dels seus deixebles i ajudants, com Francesc Berenguer, Josep Maria Jujol, Josep Francesc Ràfols, Cèsar Martinell, Joan Bergós, Francesc Folguera, Josep Canaleta i Joan Rubió, i a la seva mort, es va fer càrrec de les obres un altre dels seus deixebles, Domènec Sugrañes, que va finalitzar la construcció de les tres torres de la façana del Naixement que quedaven pendents.[cal citació]
El 20 de juliol de 1936, tot just iniciada la Guerra Civil espanyola, grups d'exaltats anarquistes van incendiar el temple i van destruir bona part del taller en el qual Gaudí havia treballat i on hi havia els seus esbossos, maquetes i models. Tot i que es va perdre molt material van quedar restes de les maquetes, que es van restaurar, i la documentació que s'havia publicat en El Propagador, en l'Àlbum i que havia estat recollida pels seus deixebles, com Isidre Puig i Boada.[cal citació]
L'any 1944 es van reprendre les obres per un equip dirigit per Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, els quals, a la mort del primer l'any 1966, continuaren fins a l'any 1981, en què prengué el relleu Francesc Cardoner i Blanch.[19] El 1985 va ser nomenat director Jordi Bonet i Armengol,[20][21] amb un equip on figuraven Carles Buxadé, Joan Margarit i Jordi Faulí i Oller.[20] El 2012, Jordi Bonet va ser substituït per Jordi Faulí i Oller.[22]
El 18 de març de 2007 se'n va commemorar el 125è aniversari de la col·locació de la primera pedra amb una festa, concerts i ballant una sardana (La Santa Espina) encerclant tot el temple.[23]
Segons les darreres previsions, la torre de Jesús s'acabaria a finals del 2025, i el 2026 es faria la inauguració oficial, coincidint amb el centenari de la mort de Gaudí.[24]
The Basílica i Temple Expiatori de la Sagrada Família,[a] otherwise known as Sagrada Família, is a church under construction in the Eixample district of Barcelona, Catalonia, Spain. It is the largest unfinished Catholic church in the world. Designed by the Catalan architect Antoni Gaudí (1852–1926), in 2005 his work on Sagrada Família was added to an existing (1984) UNESCO World Heritage Site, "Works of Antoni Gaudí".[5] On 7 November 2010, Pope Benedict XVI consecrated the church and proclaimed it a minor basilica.[6][7][8]
On 19 March 1882, construction of Sagrada Família began under architect Francisco de Paula del Villar. In 1883, when Villar resigned,[5] Gaudí took over as chief architect, transforming the project with his architectural and engineering style, combining Gothic and curvilinear Art Nouveau forms. Gaudí devoted the remainder of his life to the project, and he is buried in the church's crypt. At the time of his death in 1926, less than a quarter of the project was complete.[9]
Relying solely on private donations, Sagrada Família's construction progressed slowly and was interrupted by the Spanish Civil War. In July 1936, anarchists from the FAI set fire to the crypt and broke their way into the workshop, partially destroying Gaudí's original plans.[10] In 1939, Francesc de Paula Quintana took over site management, which was able to go on with the material that was saved from Gaudí's workshop and that was reconstructed from published plans and photographs.[11] Construction resumed to intermittent progress in the 1950s. Advancements in technologies such as computer-aided design and computerised numerical control (CNC) have since enabled faster progress and construction passed the midpoint in 2010. In 2014, it was anticipated that the building would be completed by 2026, the centenary of Gaudí's death,[12] but this schedule was threatened by work slowdowns caused by the 2020–2021 depths of the COVID-19 pandemic.[13] In March 2024, an updated forecast reconfirmed a likely completion of the building in 2026, though the announcement stated that work on sculptures, decorative details and a controversial proposed stairway leading to what will eventually be the main entrance is expected to continue until 2034.[14]
Describing Sagrada Família, art critic Rainer Zerbst said "it is probably impossible to find a church building anything like it in the entire history of art",[15] and Paul Goldberger describes it as "the most extraordinary personal interpretation of Gothic architecture since the Middle Ages".[16]
Though sometimes[when?] described[by whom?] as a cathedral, the basilica is not the cathedral church of the Archdiocese of Barcelona; that title belongs to the Cathedral of the Holy Cross and Saint Eulalia (Barcelona Cathedral).
History
Origins
Sagrada Família was inspired by a bookseller, José María Bocabella [es], founder of Asociación Espiritual de Devotos de San José (Spiritual Association of Devotees of St. Joseph). After a visit to the Vatican in 1872, Bocabella returned from Italy with the intention of building a church inspired by the basilica at Loreto. The apse crypt of the church, funded by donations, was begun 19 March 1882, on the festival of St. Joseph, to the design of the architect Francisco de Paula del Villar, whose plan was for a Gothic revival church of a standard form. The apse crypt was completed before Villar's resignation on 18 March 1883, when Antoni Gaudí assumed responsibility for its design, which he changed radically.[17] Gaudi began work on the church in 1883 but was not appointed Architect Director until 1884.[citation needed]On the subject of the extremely long construction period, Gaudí is said to have remarked: "My client is not in a hurry."[18] When Gaudí died in 1926, the basilica was between 15 and 25 percent complete.[9][19] After Gaudí's death, work continued under the direction of his main disciple Domènec Sugrañes i Gras until interrupted by the Spanish Civil War in 1936. Parts of the unfinished basilica and Gaudí's models and workshop were destroyed during the war. The present design is based on reconstructed versions of the plans that were burned in a fire as well as on modern adaptations.[14] Since 1940, the architects Francesc Quintana, Isidre Puig Boada, Lluís Bonet i Garí and Francesc Cardoner have carried on the work. The illumination was designed by Carles Buïgas. The director until 2012 was the son of Lluís Bonet, Jordi Bonet i Armengol. Armengol began introducing computers into the design and construction process in the 1980s.[citatiThe central nave vaulting was completed in 2000 and the main tasks since then have been the construction of the transept vaults and apse. In 2002, the Sagrada Família Schools building was relocated from the eastern corner of the site to the southern corner, and began housing an exhibition. The school was originally designed by Gaudí in 1909 for the children of the construction workers.[20]
As of 2006, work concentrated on the crossing and supporting structure for the main steeple of Jesus Christ as well as the southern enclosure of the central nave, which will become the Glory façade. Computer-aided design technology has allowed stone to be shaped off-site by a CNC milling machine, whereas in the 20th century the stone was carved by hand.[21] In 2008, some renowned Catalan architects advocated halting construction[22] to respect Gaudí's original designs, which, although they were not exhaustive and were partially destroyed, have been partially reconstructed in recent years.[23]
Since 2013, AVE high-speed trains have passed near Sagrada Família through a tunnel that runs beneath the centre of Barcelona. The tunnel's construction, which began on 26 March 2010, was controversial. The Ministry of Public Works of Spain (Ministerio de Fomento) claimed the project posed no risk to the church.[24][25] Sagrada Família engineers and architects disagreed, saying there was no guarantee that the tunnel would not affect the stability of the building. The Board of the Sagrada Família (Patronat de la Sagrada Família) and the neighborhood association AVE pel Litoral (AVE by the Coast) led a campaign against this route for the AVE, without success.[citation needed] In October 2010, the tunnel boring machine reached the church underground under the location of the building's principal façade.[24] Service through the tunnel was inaugurated on 8 January 2013.[26] Track in the tunnel makes use of a system by Edilon Sedra in which the rails are embedded in an elastic material to dampen vibrations.[27]
The main nave was covered and an organ installed in mid-2010, allowing the still-unfinished building to be used for liturgies.[28] The church was consecrated by Pope Benedict XVI on 7 November 2010 in front of a congregation of 6,500 people.[29] A further 50,000 people followed the consecration Mass from outside the basilica, where more than 100 bishops and 300 priests were on hand to distribute Holy Communion.[30]In 2012, Barcelona-born Jordi Faulí i Oller took over as architect of the project.[31][32] Mark Burry of New Zealand serves as Executive Architect and Researcher.[33] Sculptures by J. Busquets, Etsuro Sotoo and Josep Maria Subirachs decorate the fantastical façades.
Chief architect Jordi Faulí announced in October 2015 that construction was 70 percent complete and had entered its final phase of raising six immense steeples. The steeples and most of the church's structure were planned to be completed by 2026, the centennial of Gaudí's death;[14] as of a 2017 estimate, decorative elements should be complete by 2030 or 2032.[34][failed verification] Visitor entrance fees of €15 to €20 finance the annual construction budget of €25 million.[35] Completion of the structure will use post-tensioned stone.[36]
Starting on 9 July 2017, an international mass is celebrated at the basilica every Sunday and holy day of obligation, at 9 a.m., and is open to the public (until the church is full). Occasionally, Mass is celebrated at other times, where attendance requires an invitation. When masses are scheduled, instructions to obtain an invitation are posted on the basilica's website. In addition, visitors may pray in the chapel of the Blessed Sacrament and Penitence.[37]
The stone initially used in its construction came from the Montserrat mountain, but it became clear that as quarrying there went deeper, the stone was increasingly fragile and an alternative source had to be found. Since 2018 stone of the type needed to complete the construction has been sourced from the Withnell Quarry in Brinscall, near Chorley, England.[3
Grandiose construction de la Sicile médiévale, la cathédrale de Cefalù fut fondée par le roi Roger II en 1130-1131 pour lui servir de sépulture. Le chœur a sans doute été bâti dans son état premier en 1148, mais des modifications de structure ont retardé l'achèvement de l'église, dont la nef ne fut sans doute édifiée qu'entre 1164 et 1166. L'aspect actuel de l'édifice est très inattendu, car le chœur, conçu sur le principe de l'art roman normand, fut ensuite voûté d'ogives, pour offrir un des exemples les plus remarquables de cette technique dans le royaume siculo-normand, et recouvert enfin de mosaïques byzantines, dont le très célèbre Pantocrator de l'abside principale (troisième quart du xiie siècle).
A grand construction of medieval Sicily, the cathedral of Cefalù was founded by King Roger II in 1130-1131 to serve as a burial place. The choir was undoubtedly built in its first state in 1148, but structural modifications delayed the completion of the church, whose nave was undoubtedly built only between 1164 and 1166. The current aspect of the The building is very unexpected, because the choir, designed on the principle of Norman Romanesque art, was then vaulted with warheads, to offer one of the most remarkable examples of this technique in the Siculo-Norman kingdom, and finally covered with Byzantine mosaics, including the famous Pantocrator in the main apse (third quarter of the 12th century).
Added to the National Register of Historic Places in 2005
Designed by Jerome Legg. This Queen Anne design is considered to be the first distinguished American style of architecture. Built in 1897 for Dr Samuel Harris who passed away only two years after its completion, was then purchase by William Henry and Lilla Luce Harrison. A prominent and influential family living in Cape Girardeau.
Built by Alexander who was the Duke of Hamilton, he lived from 1767 to 1852, the structure was incomplete at the time of his death, he was later interred in the mausoleum on completion, he was fascinated with Egyptian history so was berried in a huge sarcophagus, he was the only member of his family that wasn't housed in the walls of the mausoleum but placed on a huge slab below ground level, the rest of his family were interred in the walls on a lower level to The Duke. He wanted a place where all his relatives could be together, in the 1920's there was subsidence due to water ingress from the river Clyde so all the family were relocated to a local cemetery as there was a risk of the structure collapsing, works were succesfully completed to save the structure. Before succeeding to the dukedom, he was Lord Lieutenant of Lanarkshire, Colonel of the Militia, and MP for Lancaster. He was later appointed Ambassador to Russia, and travelled extensively in Russia and Poland.
The new bridge nearing completion.
Website (Holidays, Courses, Workshops) - Facebook - Twitter - 500px - etc : all in my profile
T-minus 100 days until project completion.
Found this spot overlooking the city by chance driving around. I seem to do more driving then shooting...finding new locations is tough.
Feeling sort of uninspired lately...I'm under too much stress from school. :/
The basilica of Santa Anastasia, which retains the name of a pre-existing church from the Lombard era dedicated to the fourth-century martyr Anastasia of Sirmium, is a masterful example of Italian Gothic architecture. The building stands at the terminal section of the ancient decumanus maximus, Verona's main Roman road continuation of the Via Postumia,[9] next to the smaller, deconsecrated church of St. Peter Martyr. At the end of the 13th century, the Dominican order settled there, to whom is owed the construction of the Gothic basilica, also dedicated to St. Peter Martyr, a Dominican native of Verona and patron saint of the city along with St. Zeno.[10] A great contribution to the construction of the church is owed to the Della Scala family, Lords of Verona, through generous donations and testamentary bequests that financed its lengthy construction.[11] Work continued until the end of the 16th century, never reaching completion of the façade.[12] In the right transept of the church is the Pellegrini Chapel, famous because it contains what is considered Pisanello's masterpiece, the St. George and the Princess, frescoed on the outer wall above the entrance arch.[13]
--- Wikipedia
Wikipedia: HSB Turning Torso is a Deconstructivist skyscraper in Malmö, Sweden, located on the Swedish side of the Öresund strait.[1] It was designed by the Spanish architect Santiago Calatrava and officially opened on 27 August 2005. The tower reaches a height of 190 metres (623 feet) with 54 stories. Upon completion, it was the tallest building in Scandinavia,[The tower's design is based on a sculpture by Calatrava called Twisting Torso. It uses nine segments of five-story pentagons that twist as it rises; the topmost segment is twisted ninety degrees clockwise with respect to the ground floor. Each floor consists of an irregular pentagonal shape rotating around the vertical core, which is supported by an exterior steel framework. The two bottom segments are intended as office space. Segments three to nine house 147 luxury apartments.
The building is not for public access. I couldn't get into the building, so I took a lot of photos outside. It is surrounded by a posh neighborhood. The whole area is kinda of architects' playground.
Large View On Black
I just finished participating in November 16th's Macro Mondays challenge, "Keyhole," where I viewed and commented on multiple hundreds of images of orphaned keyholes (there were no keys allowed). This left me feeling a bit unsettled. Locks and keys go together like peanut butter and jelly; love and marraige, a horse and carriage... (you know the song). So, I felt compelled to create an image of a complete lock/key combination so I could go back to being able to sleep at night.
Strobist/technical info:
The lock was staged on a piece of glass with a black fabric background. Two Nikon SB900 speedlights were placed 90-degress CL and CR, 18" away and 24" above subject, pointing down at 45-degree angles. They were each fired in Manual mode through 24" x 24" Neewer soft boxes. The CL strobe was fired @1⁄4 power; CR @ 1⁄8 power. A third speedlight, a Nikon SB700 with Gary Fong 5th Gen Lightsphere attached, was placed CR at camera level and aimed directly at subject for fill. It was placed in Manual mode and fired @ 1⁄8 power.
The SB900's were triggered by three PocketWizard Plus X's; the SB700 was placed in SU-4 mode and triggered by the other strobes.
Lens: AF - S DX VR Zoom - Nikkor 18 - 200mm f / 3.5 - 5.6G IF - ED with a 20mm extension tube attached.
two new residential buildings in White Rock with interesting architectural design - curved balconies - are almost complete. They look really nice against the blue skies and white clouds.
my polytunnel
handover, completion, but the work for me starts now.
7 tonnes of soil ordered (& compost for top dressing too) - i am avoiding doing the calculation of how many wheelbarrows to push that this represents ..better just to start and then pace myself
paths need landscape fabric covering put in place - my knees and back will also feel this.
1 metre weed exclusion by landscape fabric all round the outside.
This is going to be a daily workout for my old joints and muscles over coming weeks I think.
R.E.M. - Finest Worksong
LNWR Bloomer Class Replica 670 awaiting completion in the Shed's during the Tyseley Locomotive Works Open Weekend 2018.
Call it the most anticipated “kiss” in Copenhagen’s history. After years of delays, the Inner Harbor Bridge (Inderhavnsbro) opened at last. The bridge—which connects the centre of the Danish capital with more residential neighborhoods such as Christianshavn and Holmen—was scheduled for completion in February 2013. But a series of setbacks—including engineering errors and the bankruptcy of its first financial backer—saw the deadline repeatedly extended. For months, the incomplete sections of the bridge jutted out from opposite sides of the harbor, like lovers straining to smooch. That earned the bridge a cute nickname: the Kissing Bridge (Kyssebroen).
Little wonder that city officials were in ebullient mood when the bridge opened on July 7, 2016. “It has been chaotic, confusing and ugly,” the city’s deputy mayor for technical affairs, Morten Kabell, told the Danish newspaper Politiken. “But now it’s done, and I think all Copenhageners have been looking forward to this day, when we can finally put our bridge to use.”
The bridge—which is 180 meters long, eight meters wide, and one of three inner harbor bridges—will allow pedestrians and cyclists alike to zip from postcard-pretty Nyhavn to the canals of Christianshavn and beyond. It also helps cement Copenhagen’s reputation as the world’s best city for cyclists. Other recent infrastructure upgrades include the serpentine Cycle Snake (Cykelslangen) and Danish-Icelandic artist Olafur Eliasson’s Circle Bridge (Cirkelbroen).
St. John the Forerunner Orthodox Church, located in the Latgale Suburb of Riga, is a stunning example of Russian Orthodox architecture. The construction of the stone church was started in 1913 according to the project of the Riga Eparchy architect Vladimir Lunsky. After the First World War, which disrupted the construction of the church, the church was damaged by shelling. In 1925, the restoration of the church (completion of construction) was started according to the project of architect Vladimir Shervinsky. The completed church was consecrated on 19 September 1934. It is a cross-domed church, the volumes and decorative elements of which show elements of Art Nouveau (one of the few such places of worship in Riga). The church houses several valuable icons from the late 19th and early 20th centuries. Between 1995 and 1996, a bell tower was built, designed by architect P. Štokmanis.
Excerpt from Wikipedia:
Merlion Park (鱼尾狮公园) is a famous Singapore landmark and a major tourist attraction, located near One Fullerton, Singapore, near the Central Business District (CBD). The Merlion is a mythical creature with a lion's head and the body of a fish that is widely used as a mascot and national personification of Singapore. Two Merlion statues are located at the park. The original Merlion structure measures 8.6 meters tall and spouts water from its mouth. It has subsequently been joined by a Merlion cub, which is located near the original statue and measures just 2 metres tall.
The original Merlion Park was first designed by the Singapore Tourism Board (STB) near the mouth of the Singapore River in 1964 as an emblem of Singapore. On 15 September 1972, the park was officially opened at an installation ceremony for the statue, officiated at by then Prime Minister of Singapore, Mr Lee Kuan Yew. The original statue of the Merlion used to stand at the mouth of the Singapore River. The building of the Merlion was started in November 1971 and was completed in August 1972. It was crafted by the late Singaporean sculptor, Mr Lim Nang Seng and his 8 children. The sculpture measures 8.6 meters high and weighs 70 tons.
Upon the completion of the Esplanade Bridge in 1997, the original Merlion Park location was also no longer the entrance of Singapore River and the statue could no longer be viewed clearly from the Marina Bay Waterfront. On 23 April 2002, the statue was relocated to a new pier specially built on the other side of The Esplanade Bridge adjacent to The Fullerton hotel. The move, which cost $7.5 million, was completed on 25 April 2002. On 15 September 2002, then-Senior Minister Lee Kuan Yew ceremonially welcome the Merlion again on its new location, the current Merlion Park, which is four times bigger than the original site.
Leaning Tower of Pisa and Pisa Cathedral
Schiefer Turm von Pisa und Dom zu Pisa
The Piazza dei Miracoli (Italian: [ˈpjattsa dei miˈraːkoli]; English: Square of Miracles), formally known as Piazza del Duomo (English: Cathedral Square), is a walled 8.87-hectare area located in Pisa, Tuscany, Italy, recognized as an important centre of European medieval art and one of the finest architectural complexes in the world.Considered sacred by the Catholic Church, its owner, the square is dominated by four great religious edifices: the Pisa Cathedral, the Pisa Baptistry, the Campanile, and the Camposanto Monumentale (Monumental Cemetery). Partly paved and partly grassed, the Piazza dei Miracoli is also the site of the Ospedale Nuovo di Santo Spirito (New Hospital of the Holy Spirit), which houses the Sinopias Museum (Italian: Museo delle Sinopie) and the Cathedral Museum (Italian: Museo dell'Opera del Duomo).
The name Piazza dei Miracoli was coined by the Italian writer and poet Gabriele d'Annunzio who, in his novel Forse che sì forse che no (1910), described the square as the "prato dei Miracoli", or "meadow of miracles". The square is sometimes called the Campo dei Miracoli ("Field of Miracles"). In 1987, the whole square was declared a UNESCO World Heritage Site.
(Wikipedia)
The Leaning Tower of Pisa (Italian: torre pendente di Pisa), or simply, the Tower of Pisa (torre di Pisa [ˈtorre di ˈpiːza; ˈpiːsa], is the campanile, or freestanding bell tower, of Pisa Cathedral. It is known for its nearly four-degree lean, the result of an unstable foundation. The tower is one of three structures in the Pisa's Cathedral Square (Piazza del Duomo), which includes the cathedral and Pisa Baptistry.
The height of the tower is 55.86 metres (183 feet 3 inches) from the ground on the low side and 56.67 m (185 ft 11 in) on the high side. The width of the walls at the base is 2.44 m (8 ft 0 in). Its weight is estimated at 14,500 tonnes (16,000 short tons). The tower has 296 or 294 steps; the seventh floor has two fewer steps on the north-facing staircase.
The tower began to lean during construction in the 12th century, due to soft ground which could not properly support the structure's weight. It worsened through the completion of construction in the 14th century. By 1990, the tilt had reached 5.5 degrees. The structure was stabilized by remedial work between 1993 and 2001, which reduced the tilt to 3.97 degrees.
Architect
There has been controversy surrounding the identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano, a well-known 12th-century resident artist of Pisa, known for his bronze casting, particularly in the Pisa Duomo. Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.
Construction
Construction of the tower occurred in three stages over 199 years. On 5 January 1172, Donna Berta di Bernardo, a widow and resident of the house of dell'Opera di Santa Maria, bequeathed sixty soldi to the Opera Campanilis petrarum Sancte Marie. The sum was then used toward the purchase of a few stones which still form the base of the bell tower. On 9 August 1173, the foundations of the tower were laid. Work on the ground floor of the white marble campanile began on 14 August of the same year during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals. Nearly four centuries later Giorgio Vasari wrote: "Guglielmo, according to what is being said, in the year 1174, together with sculptor Bonanno, laid the foundations of the bell tower of the cathedral in Pisa".
The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for the better part of a century, as the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled. On 27 December 1233, the worker Benenato, son of Gerardo Bottici, oversaw the continuation of the tower's construction.
On 23 February 1260, Guido Speziale, son of Giovanni Pisano, was elected to oversee the building of the tower. On 12 April 1264, the master builder Giovanni di Simone, architect of the Camposanto, and 23 workers went to the mountains close to Pisa to cut marble. The cut stones were given to Rainaldo Speziale, worker of St. Francesco. In 1272, construction resumed under Di Simone. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved. Construction was halted again in 1284 when the Pisans were defeated by the Genoese in the Battle of Meloria.
The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the belfry with the Romanesque style of the tower. There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.
History following construction
Between 1589 and 1592, Galileo Galilei, who lived in Pisa at the time, is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass, in keeping with the law of free fall. The primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo's pupil and secretary Vincenzo Viviani in 1654, but only published in 1717, long after his death.
During World War II, the Allies suspected that the Germans were using the tower as an observation post. Leon Weckstein, a U.S. Army sergeant sent to confirm the presence of German troops in the tower, was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction.
Numerous efforts have been made to restore the tower to a vertical orientation or at least keep it from falling over. Most of these efforts failed; some worsened the tilt. On 27 February 1964, the government of Italy requested aid in preventing the tower from toppling. It was, however, considered important to retain the current tilt, due to the role that this element played in promoting the tourism industry of Pisa.
Starting in 1993, 870 tonnes of lead counterweights were added, which straightened the tower slightly.
The tower and the neighbouring cathedral, baptistery, and cemetery are included in the Piazza del Duomo UNESCO World Heritage Site, which was declared in 1987.
The tower was closed to the public on 7 January 1990, after more than two decades of stabilisation studies and spurred by the abrupt collapse of the Civic Tower of Pavia in 1989. The bells were removed to relieve some weight, and cables were cinched around the third level and anchored several hundred meters away. Apartments and houses in the path of a potential fall of the tower were vacated for safety. The selected method for preventing the collapse of the tower was to slightly reduce its tilt to a safer angle by removing 38 cubic metres (1,342 cubic feet) of soil from underneath the raised end. The tower's tilt was reduced by 45 centimetres (17+1⁄2 inches), returning to its 1838 position. After a decade of corrective reconstruction and stabilization efforts, the tower was reopened to the public on 15 December 2001, and was declared stable for at least another 300 years. In total, 70 metric tons (77 short tons) of soil were removed.
After a phase (1990–2001) of structural strengthening, the tower has been undergoing gradual surface restoration to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower's age and its exposure to wind and rain. In May 2008, engineers announced that the tower had been stabilized such that it had stopped moving for the first time in its history. They stated that it would be stable for at least 200 years.
Earthquake survival
At least four strong earthquakes have hit the region since 1280, but the apparently vulnerable tower survived. The reason was not understood until a research group of 16 engineers investigated. The researchers concluded that the tower was able to withstand the tremors because of dynamic soil-structure interaction (DSSI): the height and stiffness of the tower, together with the softness of the foundation soil, influences the vibrational characteristics of the structure in such a way that the tower does not resonate with earthquake ground motion. The same soft soil that caused the leaning and brought the tower to the verge of collapse helped it survive.
Technical information
Elevation of Piazza del Duomo: about 2 metres (6 feet, DMS)
Height from the ground floor: 55.863 m (183 ft 3+5⁄16 in),[37] 8 stories
Height from the foundation floor: 58.36 m (191 ft 5+1⁄2 in)
Outer diameter of base: 15.484 m (50 ft 9+5⁄8 in)
Inner diameter of base: 7.368 m (24 ft 2+1⁄16 in)
Angle of slant: 3.97 degrees[40] or 3.9 m (12 ft 10 in) from the vertical
Weight: 14,700 metric tons (16,200 short tons)
Thickness of walls at the base: 2.44 m (8 ft 0 in)
Total number of bells: 7, tuned to musical scale, clockwise:
1st bell: L'Assunta, cast in 1654 by Giovanni Pietro Orlandi, weight 3,620 kg (7,981 lb)
2nd bell: Il Crocifisso, cast in 1572 by Vincenzo Possenti, weight 2,462 kg (5,428 lb)
3rd bell: San Ranieri, cast in 1719–1721 by Giovanni Andrea Moreni, weight 1,448 kg (3,192 lb)
4th bell: La Terza (1st small one), cast in 1473, weight 300 kg (661 lb)
5th bell: La Pasquereccia or La Giustizia, cast in 1262 by Lotteringo, weight 1,014 kg (2,235 lb)
6th bell: Il Vespruccio (2nd small one), cast in the 14th century and again in 1501 by Nicola di Jacopo, weight 1,000 kg (2,205 lb)
7th bell: Dal Pozzo, cast in 1606 and again in 2004, weight 652 kg (1,437 lb)
Number of steps to the top: 296
About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289. A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.
The circular shape and great height of the campanile were unusual for their time, and the crowning belfry is stylistically distinct from the rest of the construction. This belfry incorporates a 14 cm (5+1⁄2 in) correction for the inclined axis below. The siting of the campanile within the Piazza del Duomo diverges from the axial alignment of the cathedral and baptistery of the Piazza del Duomo.
Guinness World Records
Two German churches have challenged the tower's status as the world's most lopsided building: the 15th-century square Leaning Tower of Suurhusen and the 14th-century bell tower in the town of Bad Frankenhausen. Guinness World Records measured the Pisa and Suurhusen towers, finding the former's tilt to be 3.97 degrees. In June 2010, Guinness World Records certified the Capital Gate building in Abu Dhabi, UAE as the "World's Furthest Leaning Man-made Tower"; it has an 18-degree slope, almost five times more than the Tower of Pisa, but was deliberately engineered to slant. The Leaning Tower of Wanaka in New Zealand, also deliberately built, leans at 53 degrees to the ground.
(Wikipedia)
Pisa Cathedral (Italian: Cattedrale Metropolitana Primaziale di Santa Maria Assunta; Duomo di Pisa) is a medieval Roman Catholic cathedral dedicated to the Assumption of the Virgin Mary, in the Piazza dei Miracoli in Pisa, Italy, the oldest of the three structures in the plaza followed by the Pisa Baptistry and the Campanile known as the Leaning Tower of Pisa. The cathedral is a notable example of Romanesque architecture, in particular the style known as Pisan Romanesque. Consecrated in 1118, it is the seat of the Archbishop of Pisa. Construction began in 1063 and was completed in 1092. Additional enlargements and a new facade were built in the 12th century and the roof was replaced after damage from a fire in 1595.
History
Construction on the cathedral began in 1063 (1064 according to the Pisan calendar of the time) by the architect Buscheto, and expenses were paid using the spoils received fighting against the Muslims in Sicily in 1063. It includes various stylistic elements: classical, Lombard-Emilian, Byzantine, and Islamic, drawing upon the international presence of Pisan merchants at that time. In the same year, St. Mark's Basilica began its reconstruction in Venice, evidence of a strong rivalry between the two maritime republics to see which could create the most beautiful and luxurious place of worship.
The church was erected outside Pisa's early medieval walls, to show that Pisa had no fear of being attacked.[citation needed] The chosen area had already been used in the Lombard era as a necropolis and at the beginning of the 11th century a church had been erected here, but never finished, that was to be named Santa Maria.[citation needed] Buscheto's grand new church was initially called Santa Maria Maggiore until it was officially named Santa Maria Assunta.
In 1092 the cathedral was declared primatial church, archbishop Dagobert having been given the title of Primate by Pope Urban II. The cathedral was consecrated in 1118 by Pope Gelasius II, who belonged to the Caetani family which was powerful both in Pisa and in Rome.
In the early 12th century the cathedral was enlarged under the direction of architect Rainaldo, who increased the length of the nave by adding three bays consistent with the original style of Buscheto, enlarged the transept, and planned a new facade which was completed by workers under the direction of the sculptors Guglielmo and Biduino. The exact date of the work is unclear: according to some, the work was done right after the death of Buscheto about the year 1100, though others say it was done closer to 1140. In any case, work was finished in 1180, as documented by the date written on the bronze knockers made by Bonanno Pisano found on the main door.
The structure's present appearance is the result of numerous restoration campaigns that were carried out in different eras. The first radical interventions occurred after the fire of 1595, following which the roof was replaced and sculptors from the workshop of Giambologna, among whom were Gasparo Mola and Pietro Tacca, created the three bronze doors of the facade. In the early 18th century began the redecoration of the inside walls of the cathedral with large paintings, the "quadroni", depicting stories of the blesseds and saints of Pisa. These works were made by the principal artists of the era, and a group of citizens arranged for the special financing of the project. Successive interventions occurred in the 19th century and included both internal and external modifications; among the latter was the removal of the original facade statues (presently in the cathedral museum) and their replacement with copies.
Other notable interventions include: the dismantling of Giovanni Pisano's pulpit between 1599 and 1601 that only in 1926 was reassembled and returned to the cathedral (with some original pieces missing, including the staircase); and the dismantling of the monument to Henry VII made by Lupo di Francesco that was found in front of the door of San Ranieri and later substituted by a simpler, symbolic version.
Description
The original building plan was a Greek cross with a grand cupola at the crossing, but today the plan is a Latin cross with a central nave flanked by two side aisles on each side, with the apse and transepts having three naves. The inside offers a spatial effect similar to that of the great mosques thanks to the use of raised lancet arches, the alternating layers of black and white marble, and the elliptical dome, inspired by the Moors. The presence of two raised matronea in the nave, with their solid, monolithic columns of granite, is a clear sign of Byzantine influence. Buscheto welcomed Islamic and Armenian influence.
Exterior
The rich exterior decoration contains multicolored marble, mosaic, and numerous bronze objects from the spoils of war, among which is the griffin. The arrival of the griffin in Pisa has been attributed to numerous Pisan military victories of the 11th and 12th centuries, including the 1087 Mahdia Campaign and the 1113-1115 Balearic Expedition. The griffin was placed on a platform atop a column rising from the gable above the apse at the east end of the roof, probably as continuation of the original construction that started in 1064. In the early 19th century the original sculpture, which can now be seen in the cathedral museum, was removed from the roof and replaced with a copy. The high arches show Islamic and southern Italian influence.Ref? The blind arches with lozenge shapes recall similar structures in Armenia. The facade of grey and white marble, decorated with colored marble inserts, was built by Master Rainaldo. Above the three doorways are four levels of loggia divided by cornices with marble intarsia, behind which open single, double, and triple windows.
The cathedral was heavily damaged by a fire in 1595. The heavy bronze doors of the façade were newly designed, executed and completed in 1602 by sculptors around Giambologna on the expense of Ferdinando I de' Medici, the Grand Duke of Tuscany. At the top there is a Madonna and Child and, in the angles, the four evangelists. The tomb of Buscheto is found to the left of the north door of the facade.
Contrary to what might be thought, from the beginning the faithful entered the cathedral through the Gate of Saint Rainerius, found in the south transept of the same name, which faces the bell tower. For townsfolk approaching by via Santa Maria it was the shortest way to enter the cathedral. The door wings were cast about 1180 by Bonanno Pisano, and it is the only door not destroyed in 1595. The 24 bronze reliefs show stories of the New Testament. This bronze portal is one of the first produced in Italy during the Middle Ages, and is a forerunner of the bronze doors created by Andrea Pisano for the Baptistery in Florence (1329–1336).
Of further interest
At the end of the 10th century Pisa established March 25 as the beginning of its new year. This date was considered very important because it is both the Feast of the Annunciation (occurring nine months before Christ's birth on December 25) and it falls very close to the spring equinox. To mark the beginning of the Pisan new year a system was devised in the cathedral whereby a beam of light shines through a round window on the south side of the nave and, precisely at noon on March 25, lands on the same spot every year: on top of a shelf affixed to a pylon on the opposite side of the church. This shelf rests on a marble egg, a symbol of birth and new life. In 1750 the first day of the new year was officially changed to January 1, but this event is still celebrated every year accompanied by solemn religious and civic celebrations.
The lamp at the center of the nave is called Galileo's lamp, because a legend says that the great scientist formulated his theory of isochronism of the pendulum while watching its oscillations from the roof of the nave. The original, however, smaller and very different than this one, is found today in the Camposanto.
On the north side, to the left side of the facade in front of the Camposanto at about eye level, is an original piece of Roman marble (as testified to by its decoration that can still in part be seen), on which are a series of small black marks. Legend says that these marks were left by the devil when he climbed up to the dome attempting to stop its construction, and so they are referred to as the scratches of the devil. (The legend also says that out of spite the number of scratches always changes when counted.)
Legend has it that the amphora placed on a small column on the right side of the apse was used by Christ at the wedding feast of Cana when he turned water into wine.
Pope Gregory VIII is buried in the cathedral.
(Wikipedia)
Die Piazza dei Miracoli (italienisch Platz der Wunder), wie die Piazza del Duomo im Volksmund auch genannt wird, ist der Domplatz der toskanischen Stadt Pisa. Der Name stammt vom italienischen Dichter und Schriftsteller Gabriele D’Annunzio. Er beschrieb in seinem Buch Forse che sì forse che no den Platz als Wiese der Wunder. Die Piazza dei Miracoli ist eine Grünfläche nahe der Stadtbefestigung im nordwestlichen Teil der Altstadt. Die dezentrale Lage am Rande des Historischen Stadtkerns ist ungewöhnlich. Auf dem Platz steht das berühmte Ensemble, bestehend aus dem Baptisterium als größte Taufkirche der Welt, dem Friedhof Camposanto Monumentale und dem kreuzförmigen Dom Santa Maria Assunta mit seinem Campanile, dem Schiefen Turm. Sie gehören zu den Meisterwerken der mittelalterlichen Architektur und hatten einen großen Einfluss auf die monumentalen Kunst in Italien vom 11. bis zum 14. Jahrhundert. Seit 1987 gehört der Platz zum UNESCO-Welterbe.
(Wikipedia)
Der Schiefe Turm von Pisa (italienisch Torre pendente di Pisa) ist das wohl bekannteste geneigte Gebäude der Welt und Wahrzeichen der Stadt Pisa in Italien.
Der Turm war als freistehender Glockenturm (Campanile) für den Dom in Pisa geplant. 12 Jahre nach der Grundsteinlegung am 9. August 1173, im Jahr 1185, als der Bau bei der dritten Etage angelangt war, begann sich der Turmstumpf in Richtung Südosten zu neigen. Daraufhin ruhte der Bau rund 100 Jahre. Die nächsten vier Stockwerke wurden dann mit einem geringeren Neigungswinkel als dem bereits bestehenden gebaut, um die Schieflage auszugleichen. Danach musste der Bau nochmals unterbrochen werden, bis 1372 auch die Glockenstube vollendet war.
Der Grund für seine Schieflage liegt in dem Untergrund aus lehmigem Morast und Sand, der sich unter dem Gewicht verformt. Neuesten Ausgrabungen zufolge steht der Turm am Rande einer ehemaligen Insel direkt neben einem antiken, zur Bauzeit bereits versandeten Hafenbecken. Die Schieflage des Turms beträgt nach dem Ende der Sanierungsarbeiten rund vier Grad, entsprechend einer Auslenkung an der Spitze von 3,9 m (bei rund 55,8 m Höhe). Im Inneren des Turmes hängt ein Pendel, das oben in der Mitte befestigt ist und durch die Schieflage unten beinahe die Seitenwand berührt.
Der Legende nach hat der aus Pisa stammende Galileo Galilei bei Fallversuchen vom Turm die Fallgesetze entdeckt.
Im Jahre 1987 wurde das Ensemble auf der Piazza del Duomo aus dem Turm, dem Dom, dem Baptisterium und dem Camposanto von der UNESCO zum Weltkulturerbe erklärt.
Architektur
Der 56 Meter hohe und 12 Meter durchmessende Campanile besteht aus 14.500 Tonnen weißen Carrara-Marmors und hat sieben Glocken, die aber längere Zeit wegen der Einsturzgefahr nicht läuten durften. Er sollte der Höhepunkt der ganzen Anlage der Piazza dei Miracoli sein. Er unterscheidet sich von den üblichen quadratischen Türmen Mittelitaliens und steht in einem großen Gegensatz zu den spitz zulaufenden Türmen des nördlichen Europa. Er ruht auf einem spiralförmigen Fundament aus 700 m³ Bruchstein und Mörtel. Neben dem Eingang sind Monat und Jahr des Baubeginns eingemeißelt: August 1173. In Urkunden wird jedoch stets 1174 genannt, denn für die Pisaner begann nach damaligem Kalender das neue Jahr bereits am 25. März. Giorgio Vasari bezeichnete Bonanno Pisano und einen gewissen Guglielmo als ursprüngliche Architekten des Turms.
Der Campanile hatte – außer dass er die Glocken tragen sollte – noch eine andere Funktion. Bei äußerer Gefahr flüchtete damals der Klerus in den Turm. Maueröffnungen und -vorsprünge im Zylinderschacht machten es möglich, bei Bedarf in jedem Stockwerk Gebälk und Fußböden einzuziehen.
Jedes Stockwerk hat eine Tür hinaus auf die Säulengalerie, die aus jeweils 30 Säulen besteht. Auf der Südseite führen oben sechs Stufen zur Glockenstube hinauf, auf der Nordseite nur vier. Die Treppe zur obersten Aussichtsterrasse soll Brunelleschi inspiriert haben, einen ähnlichen Aufgang zur Laterne auf der Kuppel des Doms in Florenz zu bauen.
Vom 7. Januar 1990 an musste der 14.500 Tonnen schwere Turm für Besucher gesperrt werden, da die Schräglage zu gefährlich wurde. Es gab eine weltweite Aufforderung an Baustatiker, die besten Lösungen zur Stabilisierung auszuarbeiten und einzureichen.
Nach 13-jährigen Sanierungsmaßnahmen, bei denen der Turm wieder um 44 Zentimeter aufgerichtet wurde, ist er seit Dezember 2001 wieder für Touristen geöffnet. Besucher können gegen Entgelt den Turm in Gruppen von maximal 40 Besuchern für eine Dauer von 15 Minuten besteigen.
Der Schiefe Turm von Pisa ist nicht das schiefste Gebäude bzw. der schiefste Turm der Welt, wie häufig vermutet wird. Dennoch gehört er zu den schiefsten Bauwerken, die – aufrecht geplant – unabsichtlich in eine Schieflage geraten sind.
Glocken
Die sieben Kirchenglocken des Domes werden aus statischer Vorsicht nur noch mittels innenliegender elektromagnetischer Schlaghämmer angeschlagen, und zwar mittags um 12 Uhr und jeweils vor den Messen.
Zuvor wurden die Glocken entsprechend ihrer Namen liturgisch eingesetzt, so etwa die Terza zur Terz, der dritten Stunde des liturgischen Tages, also um 9 Uhr vormittags, oder die Vespruccio zur Vesper, 18 Uhr. Das Läuten erfolgte von Hand; an Festtagen wurden die Glocken voll – a slancio – ausgeschwungen.
Die kleinste Glocke von 1501, Vespruccio genannt, hat eine sehr schlanke, zuckerhutartige Form. Die Glocke Del Pozzo ist ein originalgetreuer Nachguss der Vorgängerin, 1606 von Nicolaus Castellum gegossen.
Sanierungsmaßnahmen
Versuche im Mittelalter, den Bau durch besondere Baumaßnahmen wie geneigte Böden sowie dünnere und leichtere Mauern auf der überhängenden Seite zu retten, zeigten keine ausreichende Wirkung, so dass von den ursprünglich geplanten 100 Metern Höhe nur 54 Meter gebaut wurden.
Seit dem Beginn exakter Messungen 1911 nahm die Neigung stetig zu, und die Rate der Zunahme verdoppelte sich von den 1930er-Jahren bis 1990. In diesem Jahr betrug die jährliche Zunahme der Neigung 6 Bogensekunden. Außerdem zeigte die Vermessung, dass es sich um eine Rotationsbewegung handelte, wobei das Zentrum des Kreises in Höhe des Bodens der ersten Galerie senkrecht über dem Mittelpunkt des Turms auf Bodenebene liegt, der selbst keine vertikale Bewegung ausführte. Bei zwei heftigen Starkregenereignissen konnte 1995 eine Neigungszunahme in der Größenordnung einer Bogensekunde in wenigen Stunden festgestellt werden. Daraus wurde geschlossen, dass die Ursache nicht – wie üblicherweise angenommen – im Kriechen der weichen marinen Tonschicht (Horizont B ab einer Tiefe von etwa 10 m bis zu einer Tiefe von 40 m, wo Horizont C mit dichtem marinen Sand beginnt) lag, sondern an dem darüberliegenden Horizont A (Sand, sandige und tonige Schluffe), in der regelmäßig im September bis Dezember auftretende Unwetter mit heftigen Niederschlägen eine verstärkte Rotationsbewegung auslösten.
Seit der vorübergehenden Schließung 1990 waren diverse Sanierungsmaßnahmen unternommen worden. Im Mai 1992 wurde der Campanile mit Stahlreifen im zweiten Geschoss gesichert, da sich dort gefährliche Risse im tragenden Marmor gezeigt hatten. Insgesamt wurden 18 dieser Reifen angebracht. Zusätzlich wurden im Juli 1993 im Fundament 600 Tonnen Bleibarren als Gegengewicht auf der Nordseite eingelagert. Dadurch konnte die Schieflage des Turmes 1993 um eine Bogenminute verringert werden. 1995 wurden weitere Sanierungsmaßnahmen (Bodenvereisung und Stahlkabel-Verankerung) durchgeführt, da man die Bleigewichte als störend empfand. In der Folge erhöhte sich dabei allerdings die Neigung. Daraufhin wurde die höhere Seite des Fundaments an seinem Vorsprung außen am Turm im September 1995 erneut, diesmal mit 900 Tonnen Bleibarren, beschwert (siehe Bild), was die Neigung stoppte.
Ein Komitee internationaler Fachleute, das über die Sanierungsmaßnahmen des Turmes befinden sollte (1990 bis 2001 unter Leitung von Michele Jamiolkowski), konnte sich auf keine bestimmten Maßnahmen festlegen und wurde deshalb zum Ende 1996 von der italienischen Regierung aufgelöst. Nach dem großen Erdbeben vom September 1997 wurde das Komitee jedoch wieder eingesetzt. Man einigte sich im Herbst 1998 mehrheitlich auf eine neue Maßnahme zur Sanierung des Campanile, die sogenannte Bodenextraktions-Methode (geplant von John Burland nach einer Idee des Ingenieurs Fernando Terracina aus dem Jahr 1962). Dazu wurden im folgenden Jahr schräge Löcher in den Boden (Tiefe rund 4 bis 5 m, innerhalb von Horizont A) unter dem nördlichen Teil des Turmes gebohrt, so dass etwa 50 m³ Material entfernt wurde. Das Erdreich sackte langsam nach, schließlich auch der Boden des Turmes, und der ganze Turm richtete sich zunehmend nach Norden auf. Die Gesamtneigung des Turmes wurde von 5,5 Grad vor dem Beginn der Sanierungsarbeiten (um 1990) auf etwa vier Grad verringert. Damit ist der Turm voraussichtlich für die nächsten 300 Jahre gesichert. Nach dem Abschluss der Sanierungsmaßnahmen wurde der Turm am 15. Dezember 2001 wieder zur Besichtigung freigegeben.
Zur Sicherung während dieser Arbeiten wurde der Turm 1998 mit zwei starken Stahlseilen von 103 Metern Länge so befestigt, dass er nicht durch unerwartete Bewegungen einstürzen konnte.
Bei Bauarbeiten zur Sicherung des Gebäudes ist eine alte Römerstraße entdeckt worden, die noch in alten Plänen verzeichnet war, außerdem ein mittelalterliches Grab samt vollständigem Skelett.
(Wikipedia)
Der Dom Santa Maria Assunta (italienisch Cattedrale Metropolitana Primaziale di Santa Maria Assunta) ist eine Kirche in Pisa, zu der der weltweit berühmte Schiefe Turm von Pisa gehört. Sie ist die Kathedrale des Erzbistums Pisa.
Der Dom steht auf dem weitläufigen Rasenplatz der Piazza del Duomo, auf dem sich auch die drei dazugehörenden Bauwerke Baptisterium, Camposanto Monumentale und der Campanile („Der Schiefe Turm von Pisa“) befinden. Dieser Platz wurde vom Dichter D’Annunzio als Piazza dei Miracoli (Platz der Wunder) bezeichnet und wird noch heute so genannt. Trotz einer Bauzeit von über 200 Jahren wurde durch den gleichbleibenden Baustoff Carrara-Marmor und die einheitliche Fassadengestaltung ein zusammenhängendes Bild geschaffen. Der Dom wurde zum Vorbild für spätere Dombauten wie z. B. in Florenz und Siena und galt jahrhundertelang als monumentalster Bau der christlichen Geschichte.
Papst Gelasius II. weihte 1118 den damals noch unvollendeten Dom ein. Er trägt das Patrozinium der Himmelfahrt Mariens.
Baugeschichte
Buscheto di Giovanni Giudice begann mit dem Bau des Doms im Jahre 1063 auf dem Schwemmboden vor der alten Stadtmauer. Finanziert wurde das Bauwerk mit den im gleichen Jahr von den Sarazenen vor Palermo eroberten Schätzen. Durch den weichen Untergrund sank auch der Dom im Osten leicht ein. Die kreuzförmige Grundfläche des Doms war zu diesem Zeitpunkt in Italien neu. Über der Vierung der fünfschiffigen Basilika mit dem dreischiffigen Querhaus erhebt sich eine elliptische Kuppel mit einem oktogonalen Ansatz. Sie wurde erst 1380 durch Lupo di Gante und Puccio di Gadduccio im gotischen Stil nachträglich hinzugefügt.
Die Fassade wurde am Ende des 12. Jahrhunderts von Rainaldo geschaffen und wurde als Pisaner Romanik in der gesamten Toskana zum Vorbild. Bei der westlichen Fassade erheben sich über den sieben Blendarkadenbögen im Erdgeschoss mit seinen drei Portalen vier Galerien mit insgesamt 52 Säulen. Auf dem Giebel der 35,5 m breiten und 34,2 m hohen Fassade steht eine Madonna mit Kind von Andrea Pisano. An ihrer Seite stehen Engel, die zusammen mit den beiden Evangelisten auf der ersten Galerie durch Schüler von Giovanni Pisano entstanden. Das mittlere Portal ist dem Leben Marias gewidmet. Im linken Bogen der Fassade ist das Grab des ersten Dombaumeisters Buscheto mit einer antiken Sarkophagspolie und einer langen Huldigung in die Wand eingefasst.
Die drei Bronzetore aus dem 17. Jahrhundert ersetzen die von Bonanno Pisano geschaffenen Tore von 1180, die bei einem schweren Feuer 1595 zerstört wurden. Die neuen Türen mit umfangreichen Reliefszenen wurden bis 1602 durch Schüler Giambolognas, Francavilla, Mocchi und Tacca, in loser Anlehnung an das alte Vorbild gegossen. Die Porta di San Ranieri am südlichen Seitenschiff ist dem Campanile zugewandt. Hier ist das restaurierte Original des Meisters Bonanno Pisano von 1186 noch erhalten. Es ist nach dem Schutzpatron Pisas benannt und stellt u. a. Szenen aus dem Leben Christi dar.
Am gesamten Gebäude findet man vielfach zusammenhanglose Zeichen auf den Außenwänden. Der Grund dafür liegt darin, dass man antike Baumaterialien wiederverwendete oder Materialien aus eroberten Städten holte.
Datierungsprobleme
Im Hinblick auf die Datierung des Baus und die historische Herleitung ihrer einzelnen Bauformen gibt es in der Forschung seit langem unterschiedliche Ansichten. Eine verbreitete Theorie nennt konkrete Zahlen und die Namen verschiedener Baumeister. Andere Kunsthistoriker halten diese Geschichten für bereits im Mittelalter erfundene Legenden.
Nach der ersten Theorie war der Seesieg bei Palermo über die damals im Mittelmeer herrschenden Sarazenen im Jahr 1063 Anlass zum Bau der Gesamtanlage. In Venedig spielten diese sarazenischen Seeräuber ebenfalls eine Rolle. Auch dort war die Abwendung dieser Gefahr Anlass gewesen, den Markusdom neu zu bauen, und zwar im selben Jahr 1063, in dem die Anlage in Pisa möglicherweise begonnen wurde. Auch die Pisaner hatten durch diesen Seesieg reiche Beute gemacht und den Ertrag zur Glorifizierung ihrer Stadt genutzt; Pisa war im 11. Jahrhundert die mächtigste Stadt der Toskana.
Nach der zweiten Ansicht ist lediglich erwiesen, dass im Jahr 1118 die Kathedrale im Bau befindlich war. Das sei das einzige zuverlässige Datum. Man habe damals die eher zufällige Anwesenheit des Papstes Gelasius II. genutzt, um eine angemessene Weihe zu vollziehen. Der Bau musste für diesen Fall schon weit genug fortgeschritten gewesen sein, so dass sich die angesetzten Entstehungszeiten der beiden Theorien nicht wesentlich unterscheiden.
Die Kathedrale gehört zusammen mit dem Markusdom in Venedig zu den ersten Monumentalbauten des mittelalterlichen Italiens. Daher stellt sich die Frage, auf wen die entscheidenden Bauideen zurückgehen. Die Stadt Pisa popularisierte schon sehr früh eine eigene lokalpatriotische Version, die dem Baumeister die gesamte Anlage als geniale, völlig eigenständige Idee zuschrieb, ohne dass fremde Einflüsse eine Rolle spielten. Demzufolge soll der erste Baumeister der Kathedrale Buscheto gewesen sein, über den nur sehr wenig bekannt ist. Vasari berichtet in seinen Vite, "Busketos" sei griechischer Herkunft gewesen – also kein geborener Pisaner. Dies wird mancherorts bestritten und vor allem lokal dadurch unterstrichen, dass man ihn „Buscheto Pisano“ nennt. Belegt ist seine Eigenschaft als Prokurator der Pfarre und als Mitglied der Dombauhütte.
Keine Einigkeit besteht in der Forschung, wer die Idee zu der Kathedrale hatte und was seine stilistischen Vorbilder waren. Pisa hatte – wie Venedig – als Seemacht intensive Handelsbeziehungen im östlichen Mittelmeer. Deshalb liegt es nahe, dass die östliche Baukunst hier Einfluss ausüben konnte. Auf jeden Fall war der Baumeister mit dem byzantinischen Kulturraum vertraut. Seine Baukunst nimmt Anleihen auf bei persischen Moscheen und bei frühchristlichen Kirchen in Armenien und Georgien. Zudem vereint sie Elemente der italienischen Romanik mit Motiven aus der Stadtmauer von Kairouan. Inschriften im Dom belegen die Mitarbeit von Heiden: Türken, Afrikanern, Persern und Chaldäern.
Auch wenn sich die Bauzeit des Pisaner Doms lange hinzog, ist der Gesamteindruck einheitlich. Der ersten Theorie zufolge verlief die weitere Entwicklung folgendermaßen: Vor Fertigstellung des Doms habe der neue Baumeister Rainaldus um 1100 den ursprünglichen Grundriss geändert. Er ließ das Langhaus verlängern, den Obergaden erhöhen – die ursprüngliche Höhe ist noch am Querhaus erkennbar – und das untere Geschoss der Fassade errichten. Vollendet worden soll der Bau bis 1160 durch den Innsbrucker Meister Wilhelm gen. Guglielmus (auch Guilielmus)., der um diese Zeit auch die erste Kanzel für den Dom schuf.
Rechts über dem mittleren Portal der Westfassade sind zwei Inschriften in die Wand eingelassen, deren erste Rainaldo als Bauherrn rühmen. Als demütige Replik folgt ein Bibelzitat aus der Vulgata (Psalm 21, Vers 22):
Hoc opus eximium tam mirum tam pretiosum
Rainaldus prudens operator et ipse magister
constituit mire sollerter et ingeniose
De ore leonis libera me domine et
a cornibus unicornium humilitatem meam
Dieses hervorragende Werk, ebenso wunderbar wie kostspielig,
errichtete Rainald, der kluge Erbauer und selbst [Bau]meister,
in wundervoller, kunstvoller und erfinderischer Weise.
Aus dem Rachen des Löwen befreie mich, o Herr,
und von den Hörnern der Einhörner meine Niedrigkeit.
Bedeutung der Fassade für die Datierung
Die Westfassade des Doms stellt für die abendländische Architekturgeschichte eine entscheidende Neuerung dar, den Übergang von der glatten Wand zur plastisch gestalteten Schaufläche. Daher ist auch die Frage ihrer genauen Datierung wichtig, denn ähnlich gestaltete Fassaden wurden auch andernorts gebaut, etwa in Lucca an der Kathedrale San Martino, dessen Baumeister Guidetto da Como, der auch in Pisa tätig war, auf der Fassade mit dem Datum 1204 verewigt wurde.
Die kritischere zweite Theorie akzeptiert lediglich, dass in der zweiten Hälfte des 12. Jahrhunderts im Westen des Hauptschiffes drei Joche angefügt und die heutige Fassade begonnen wurden. Namen werden in dieser Theorie nicht genannt. Demnach könnte die gesamte Fassade auch erst um 1200 fertig und möglicherweise von Anfang an in ihrer heutigen Form geplant gewesen sein. Andere Schätzungen nehmen sogar erst die Mitte des 13. Jahrhunderts an – also hundert Jahre nach dem Datierungszeitraum der ersten Theorie.
Trotzdem spricht viel dafür, dass man zwei verschiedene Phasen in der Entwicklung des Dekorationssystems unterscheiden kann. Die ursprüngliche Konzeption hätte demnach vorgesehen, die Außenmauern im Erdgeschoss durch folgende Elemente zu gliedern: erstens durch Blendbögen, sodann durch waagerechte Streifen aus farbigem Marmor – nach dem Vorbild des Baptisteriums in Florenz – und durch eingelegte Ornamente und Medaillons. Dieses Schema gilt für das ganze Kathedraläußere, an den Seitenwänden auch für die oberen Geschosse. Doch in den über dem Erdgeschoß liegenden Etagen der Westfassade übertraf man diesen Formenreichtum noch um ein Vielfaches. Statt flächiger Aufblendung ließ man in vier Galerien übereinander eine plastische Dekorationsschicht aus Säulen und verzierten Bögen vor der eigentlichen Kirchenmauer deutlich hervortreten.
Legenden
Im Hauptschiff hängt ein bronzener Leuchter von Vincenzo Possenti aus dem Jahre 1587, der Entwurf stammt aber von Giovanni Battista Lorenzi. Es gibt die Geschichte, dass an dem Leuchter Galileo Galilei die Gesetze der Pendelschwingung gefunden haben soll. Sollte es ein Leuchter in dieser Kirche gewesen sein, der ihn auf das Gesetz brachte, kann es allerdings nicht dieser Leuchter gewesen sein, da Galileo Galilei das Gesetz um 1584 veröffentlicht hat.
Zwischen dem nördlichen Seitenschiff und der westlichen Fassade findet man an der Außenwand des Doms an einem Pfeiler einen Stein mit vielen schwarzen Punkten. Von diesem Stein erzählt man sich, dass er vom Teufel sei. Zählt man zweimal hintereinander die Punkte nach, so kommt man jeweils auf ein anderes Ergebnis.
(Wikipedia)
Building Completion Date: 1897
County Seat: Giddings
Present Status: Existing. Active.
Architect: James Riely Gordon
Architectural Style: Romanesque Revival
General Contractor: Sonnefield, Emmins, & Albright, San Antonio
Building Materials/Description: Brick and stone. $32,270
National Register Narrative
The Lee County Courthouse in Giddings, Texas, stands on a public block that, unlike most squares in towns throughout the state, is surrounded by residential rather than commercial buildings. Designed by J. Riely Gordon in 1898 and built by Sonnefield, Emmins and Abright of San Antonio, the three-story red brick courthouse is located on the crest of the high divide that separates the Colorado and Brazos river basins. The building displays a combination of a variety of structural masses and is an imposing site in the predominantly residential area. Similar in design to many of Gordon’s Texas courthouses, the Lee County Courthouse employs the Richardsonian Romanesque style. Cruciform in plan, the structure contains two story quarter-circular entrance galleries set into the front ells (northeast and northwest ells), while the rear ells (southeast and southwest) contain two three-story quarter- circular bays with open arcades on the first :Level and enclosed floors on the second and third levels. A brick parapet with punched brick detail crowns each bay. Each arm of the Greek cross is covered by a hipped roof. From three of the wings large, gabled wall dormers project, while a chimney rises from the rear (south) arm. Two additional dormers are set within the northeast and northwest ells above the two-story quarter-circular galleries. The three-story quarter-circular bays are crowned by cross hipped roofs. Rising from the center of the mass is a tall, square, brick clock tower with tall arcaded openings and a clock. The tower ends abruptly, however, for it lacks the pyramidal roof that Gordon typically employed.
Due for completion in March 2009
The Point is a waterfront location on Dubai Marina with panoramic views
Launched in 2006, The Point, Dubai Marina, is an innovative 27-storey development from award-winning architects N.E.B.
Located between the sands of Jumeirah Beach and the heart of Dubai Marina, this much sought after marina address is located opposite the grand Dubai Yacht Club amidst the most celebrated hotels and restaurants in the Emirate.
At approximately 10 metres from the marina’s edge, The Point offers a spacious pool deck running the length of its waterside location offering a number of climate-controlled pools as well as a shaded pool and deck area.