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Liverpool ONE is a shopping, residential and leisure complex in Liverpool, England.
The project, previously known as The Paradise Project, involved the redevelopment of 42 acres (170,000 m²) of underutilised land in Liverpool city centre. It is a retail led development, anchored by department stores Debenhams and John Lewis, with additional elements including leisure facilities (anchored by a 14-screen Odeon cinema and 36-hole adventure golfcentre), apartments, offices, public open space and transport improvements. The completion of Liverpool ONE has significantly boosted the local economy as well as lifted Liverpool into the top five most popular retail destinations in the UK. Liverpool ONE is the largest open air shopping centre in the United Kingdom and the 5th largest overall. Each store was created by a different architect, therefore leading to quite stark differences between some buildings, this is one way in which Liverpool ONE differentiates itself from other shopping centres.
The majority of the development was opened in phases on 29 May 2008 and 1 October 2008, during Liverpool's year as European Capital of Culture, whilst the final residential units opened in early 2009. The cost of construction associated with the project was £500 million, with a total investment value of £920 million.
Background
In the summer of 1998, Healey & Baker's Development Team, which is now owned by Cushman & Wakefield, were appointed by Liverpool City Council to conduct a retail study of the Liverpool City Centre for the replacement Unitary Development Plan. The purpose of the study was to enable the Council to identify ways of protecting and improving the City Centre and also to find out why the City Centre was perceived as unattractive to new high quality retailers. Cushman & Wakefield's study revealed that Liverpool's reputation as a regional shopping centre was under serious threat, however the study underlined that a feasible scheme and redevelopment site existed within the heart of the city.
Cushman & Wakefield recommended a radical City Centre re-development of over 42 acres (170,000 m2), which would represent the largest city centre development in Europe since the post-war reconstruction.
In April 1999, Liverpool City Council passed a resolution for comprehensive redevelopment of the Paradise Street Area, which consisted of the area bound by Strand Street, the Combined Courts Centre, Lord Street, Church Street, Hanover Street and Liver Street. The area contained Chavasse Park, the Paradise Street Bus Station and NCP Car Park, Quiggins, the Moat House Hotel, Canning Place Fire Station and BBC Radio Merseyside. There were also large areas of wasteland, some used as car parks.
In March 2000, after a series of technical workshops, Liverpool City Council selected the Duke of Westminster's Grosvenor Group as developer. The Development Agreement between the council and Grosvenor was signed in January 2003.
As a result of the technical workshops, it became apparent to Cushman & Wakefield that whilst the boundary of the PSDA was appropriate, the boundary needed to be extended and more clearly defined. Cushman & Wakefield proposed that two Mixed Use Extension Areas be identified to the West and East of the PSDA, including the sites of Chavasse Park/ Canning Place, together with an area across Hanover Street extending into Rope Walks.
The Government Office for the North West (GONW) agreed with Cushman & Wakefield that the Unitary Development Plan needed revisiting and the City Council was understandably reluctant given it had just completed the UDP Inquiry. The proposals were further attacked by a competing 60,000 sq ft (5,600 m2) scheme.
Following further consideration by Members, the revised PSDA Planning Framework incorporating the mixed use extension areas was issued for consultation in May 2000. The Council subsequently resolved to incorporate the PSDA Planning Framework into the emerging Unitary Development Plan. This necessitated a further public inquiry and consultation period. Three years later Cushman & Wakefield secured the Unitary Development Plan changes sought and defeated the opposition's appeal.
In December 2003, Grosvenor selected Laing O'Rourke as construction partner.
BDP designed the masterplan for Liverpool ONE which, in 2009, was nominated for the RIBA Stirling Prize. This is the first time a masterplan, rather than one particular building, has been nominated for the prize.
The 42 acre site was designed to consist of 1.4 million sq. feet of retail space, a 14-screen multiplex cinema and 230,000 sq. feet of restaurants, cafes and bars in addition to 600 new apartments, two hotels, offices, a five-acre park and a transport interchange. BDP integrated these features and linked the 40 new buildings designed by over 20 different architects.
The refurbishment of Stratford upon Avon station is nearly complete. 172215 is the rear unit on the 12.03 to Stourbridge Junction.
The Flatiron Building (or Fuller Building, as it was originally called) is located at 175 Fifth Avenue in the borough of Manhattan, New York City and is considered to be a groundbreaking skyscraper. Upon completion in 1902, it was one of the tallest buildings in the city and one of only two skyscrapers north of 14th Street – the other being the Metropolitan Life Insurance Company Tower, one block east. The building sits on a triangular island-block formed by Fifth Avenue, Broadway and East 22nd Street, with 23rd Street grazing the triangle's northern (uptown) peak. As with numerous other wedge-shaped buildings, the name "Flatiron" derives from its resemblance to a cast-iron clothes iron.
The building anchors the south (downtown) end of Madison Square and the north (uptown) end of the Ladies' Mile Historic District. The neighborhood around it is called the Flatiron District after its signature building, which has become an icon of New York City. The building was designated a New York City landmark in 1966, was added to the National Register of Historic Places in 1979, and designated a National Historic Landmark in 1989.
The site on which the Flatiron Building would stand was bought in 1857 by Amos Eno, who would shortly build the Fifth Avenue Hotel on a site diagonally across from it. Eno tore down the four-story St. Germaine Hotel on the south end of the lot, and replaced it with a seven-story apartment building, the Cumberland. On the remainder of the lot he built four three-story buildings for commercial use. This left four stories of the Cumberland's northern face exposed, which Eno rented out to advertisers, including the New York Times, who installed a sign made up of electric lights. Eno later put a canvas screen on the wall, and projected images onto it from a magic lantern on top of one of his smaller buildings, presenting advertisements and interesting pictures alternately. Both the Times and the New York Tribune began using the screen for news bulletins, and on election nights tens of thousands of people would gather in Madison Square, waiting for the latest results.[9]
During his life Eno resisted suggestions to sell "Eno's flatiron", as the site had become known, but after his death in 1899 his assets were liquidated, and the lot went up for sale. The New York State Assembly appropriated $3 million for the city to buy it, but this fell through when a newspaper reporter discovered that the plan was a graft scheme by Tammany Hall boss Richard Croker. Instead, the lot was bought at auction by William Eno, one of Amos's sons, for $690,000 – the elder Eno had bought the property for around $30,000 forty years earlier. Three weeks later, William re-sold the lot to Samuel and Mott Newhouse for $801,000. The Newhouses intended to put up a 12-story building with street-level retail shops and bachelor apartments above, but two years later they sold the lot for about $2 million to Cumberland Realty Company, an investment partnership created by Harry S. Black, CEO of the Fuller Company. The Fuller Company was the first true general contractor that dealt with all aspects of building construction except design, and they specialized in building skyscrapers.
Black intended to construct a new headquarters building on the site, despite the recent deterioration of the surrounding neighborhood,[10] and he engaged Chicago architect Daniel Burnham to design it. The building, which would be the first skyscraper north of 14th Street, was to be named the Fuller Building after George A. Fuller, founder of the Fuller Company and "father of the skyscraper", who had died two years earlier, but locals persisted on calling it "The Flatiron", a name which has since been made official.
More information can be found at:
Completion slated for end of 2017
Luxurious elegant residences - Fort Lauderdale Beach
Birds eye view from X-Star Drone 25June2017
Before entering the museum (Viharn Sian Anek Kuson Sala) at Viharnra Sien in Wat Yan Park, a quick review of the man responsible for the project from inception to completion, Master Sa-nga Kulkobkiat.
Master Sa-nga Kulkobkiat (The Builder of Anek Kusala Sala and a Master of Feng Shui ) was a Thai national who grew up in China. The goal of the museum is to maintain positive relations between Thailand and China. Sa Nga Kulkobkiat died in 2003.
Born in Bangkok Thailand in 1925, but raised in China, this temple was one of Kulkobkiat's legacies celebrating the cultures of both countries.
Kulkobkiat also created a second Viharnra Sien in Chaozhou City, Guangdong, China. He wanted them to help encourage cooperation between China and Thailand.
In 1987, Master Sa-nga Kulkobkiat’s vision was turned into reality. Then Thai King Bhumibol Adulyadej gave him royal permission to construct the temple complex.
The King granted Master Kulkobkiat 7 rai of land (2.7 acres) to build on within the Wat Yansangwararam temple grounds. On June 6th, 1988 the King inaugurated the construction and gave it the Thai name Anek Kusala Sala.
Master Kulkobkiat oversaw the entire project, from design through construction. In a little over 5 years the temple held its opening ceremony on December 24th, 1993.
In the ceremony, the Thai-Chinese offered the building and donated many great antiques and artworks in honor of the King.
The temple has a massive collection of bronze statues, jade carvings, paintings, and countless other pieces of Thai and Chinese art and cultural relics. The Chinese government has also contributed a large number of pieces for permanent display at the temple.
Content description: Jim Sims (CEO of Cambridge Technology Partners) in hard hat, white coat, and white pants at 8 Cambridge Center foundation completion ceremony walking across the image.
Local identifier: 020_01_03_020
Type of resource: still image
Genre/form: black-and-white prints (photographs)
Date: 1998-04
Physical description: 1 photograph : print, black and white ; 25.4 x 20.3 cm
Digital origin: reformatted digital
General notes: Title and content description from related item.
Date notes: Date from related item.
Acquisition notes: Donated by the Cambridge Redevelopment Authority in July 2014.
Description standard: dcrmg
Subject headings:
Cambridge Redevelopment Authority
Boston Properties, Inc.
Kendall Square (Cambridge, Mass.)
Construction industry
Urban renewal--Massachusetts--Cambridge
Host collection: Cambridge Redevelopment Authority Records, 1952-2000
Physical location: Cambridge Public Library
Conditions Governing Use: The material in this collection is subject to copyright and intellectual property restrictions. It is the responsibility of the researcher to understand and observe copyright law and to identify and satisfy the holders of all copyright. Researchers must obtain written permission from the copyright holder(s) if they wish to publish materials from this collection. Questions concerning copyright and permission to publish should be directed to the Cambridge Room, Cambridge Public Library Archives and Special Collections.
Please use the following format when citing materials from this collection: [Identification of item], Cambridge Redevelopment Authority Records, 1952-2000, 020, [Box#, Folder title], Cambridge Room, Cambridge Public Library Archives and Special Collections.
For more from this collection: cambridgeroomcollections.wordpress.com/2016/03/30/cambrid...
LUC has worked with a large multi-disciplinary team to deliver a sustainable infrastructure and development masterplan to guide the long term transformation of Shawfield in Glasgow’s East End. LUC also led the design and implementation of an advanced phase of public realm and landscape works that now forms a framework for new development to be realised over a 20-25year horizon.
Prior to construction the site was heavily contaminated and consisted of large areas of vacant and derelict land together with dated business and industrial premises. The site was completely cleared and underwent significant ground remediation in advance of the public realm works to ensure the site is ‘development ready’.
LUC developed a green infrastructure strategy to inform the masterplan design with an emphasis on integrated surface water drainage and pedestrian connectivity to surrounding communities, transport nodes and the River Clyde corridor.
The Clyde riverbanks have been manipulated to provide new pedestrian and cycling infrastructure and this now provides an extension to the strategically important Clyde Walkway.
An ecologically diverse mosaic of riparian woodland, grassland and wetland habitats has been created that will improve the biodiversity of the River Clyde corridor.
A new strategic pedestrian and cycling link has been created linking the new South Dalmarnock Smart Bridge with the centre of the masterplan site, improving connectivity in the area. In contrast with the more naturalistic riverside treatment this link is more formal in character with strong tree avenue planting, lighting and paving patterns.
For more information, visit: www.landuse.co.uk
One of the oldest techniques in psychology, Sentence Completion often has been used to understand creativity, imagination, and personality.
How would you fill in the blank?
Sagrada Família Barcelona, Spain - situation 2017
Construction of the Temple Expiatori de la Sagrada Família began in 1882. The temple is still under construction, with completion expected in 2026. It is perhaps the best known structure of Catalan Modernism, drawing over three million visitors annually. Architect Antoni Gaudi worked on the project until his death in 1926, in full anticipation he would not live to see it finished.
Gaudi was appointed architect in 1883 at 31 years of age, following disagreements between the temple’s promoters and the original architect, Francisco de Paula del Villar y Lozano. He maintained del Villar’s Latin cross plan, typical of Gothic cathedrals, but departed from the Gothic in several significant ways. Most notably, Gaudi developed a system of angled columns and hyperbolical vaults to eliminate the need for flying buttresses. Rather than relying on exterior elements, horizontal loads are transferred through columns on the interior. La Sagrada Familia utilizes three-dimensional forms comprised of ruled surfaces, including hyperboloids, parabolas, helicoids, and conoids. These complex shapes allow for a thinner, finer structure, and are intended to enhance the temple’s acoustics and quality of light. Gaudi used plaster models to develop the design, including a 1:10 scale model of the main nave measuring five meters in height and width by two meters in depth. He also devised a system of strings and weights suspended from a plan of the temple on the ceiling. From this inverted model he derived the necessary angles of the columns, vaults, and arches. This is evident in the slanted columns of the Passion facade, which recall tensile structures but act in compression.
Gaudi embedded religious symbolism in each aspect of La Sagrada Familia, creating a visual representation of Christian beliefs. He designed three iconic facades for the basilica, the Glory, Nativity, and Passion facades, facing south, east, and west, respectively. The sculpting of the Nativity facade recalls smooth, intricate corbelling and was overseen by Gaudi. The Passion Facade is characterized by the work of Josep Maria Subirachs, whose angular sculptures extend the modernist character of the temple. The sculptor Etsuro Sotoo is responsible for the window ornaments and finials, which symbolize the Eucharist. The central nave soars to a height of 45 meters, and is designed to resemble a forest of multi-hued piers in Montjuïc and granite. The piers change in cross section from base to terminus, increasing in number of vertices from polygonal to circular. The slender, bifurcating columns draw the eye upward, where light filters through circular apertures in the vaults. These are finished in Venetian glass tiles of green and gold, articulating the lines of the hyperboloids.
Once completed, La Sagrada Familia will feature eighteen towers. Four bell towers representing the Apostles crown each facade, reaching approximately 100 meters in height. At the north end, a tower representing the Virgin Mary will stand over the apse. The central tower will reach 72 meters in height and symbolize Christ, surrounded by four towers representing the Evangelists. Even as construction continues, older portions are undergoing cleaning and restoration. The temple has relied entirely on private donations since its inception, and has seen many delays due to lack of funding. A particularly significant setback occurred during the Spanish Civil War, when Gaudi’s workshop was destroyed, including much of the documentation he left behind. Subsequent generations of craftsman and architects have relied on the remaining drawings and plaster models to advance the project, adhering to Gaudi’s vision as closely as possible. As a result, the design of the temple is a collaboration spanning centuries. Gaudi himself viewed the project as the collective work of generations. "I will grow old but others will come after me. What must always be conserved is the spirit of the work, but its life has to depend on the generations it is handed down to and with whom it lives and is incarnated."
In recent decades, La Sagrada Familia has adopted contemporary digital design and construction technologies. Architects and craftsmen use Rhinoceros, Cadds5, Catia, and CAM to understand the complex geometries and visualize the building as a whole. Plaster models are still used as a design tool, now generated by a 3-D printer to accelerate the process.
Architect: Antoni Gaudi
Present Chief Architect: Jordi Fauli
Former Chief Architects: Jordi Bonet, Francesc de Paula Quintana i Vidal, Isidre Puig i Boada, Lluís Bonet i Garí, , Francesc de Paula del Villar y Lozano
Deputy Chief Architects: Carles Buxadé, Joan Margarit, Josep Gómez Serrano
Technical Consultants: Universitat Politècnica de Catalunya, Royal Melbourne Institute of Technology
Project Department: Jordi Coll, Andrés de Mesa
Sculptors: Etsuro Sotoo, Josep Maria Subirachs
Stained Glass: Joan Vila-Grau
Area: 4.500 m2
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Completion of the Great Northern Railway and the railroad’s promotion of dryland farming in the American West drew homesteaders to this isolated stretch of Montana’s northern plains. Prominent among these settlers during the homesteading boom of the 1910s were Norwegian immigrants, who brought their Lutheran faith to this far-away place. As early as 1911, a circuit rider from Conrad provided Lutheran services, binding together the small, remote community.
Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Lamb of God window may be found in the western wall of the entrance porch of Christ Church, Brunswick. The Lamb of God is holding a banner of the triumphal cross, symbolising the victory of the resurrected Christ over death.
Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.
Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.
Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was St. George's Presbyterian Church in East St Kilda between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and St, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
Seems the Tugly renaissance isn't quite yet over, WNXX today reports that on completion of the current batch of 10 overhauls for Colas Rail, a further batch of 5 class 60's are to be done. For DB Schenker. Hooray :)
That gives us 36 GTi Tugs, 26 for DBS and the 10 for Colas, potentially 46 if Colas take the option for a further 10. And why wouldn't they, with the class 56's still being somewhat troublesome, 56105 just spent 2 days at Gresty Bridge with a train of Chirk bound logs, whilst another, 56113 gave up on the way into Derby with the Sinfin tanks and was rescued by a DRS 37 into the sidings alongside Derby station, then taken forward to Sinfin by a pair of 50's!
Incredibly, this is the last 60 I saw, well over two months ago now back on 10 January 2015. 60079 leads the Shropshire Union crankex along the joint line between Whitchurch and Prees. I really need to get out more...
A touch of old hollywood meets modern chic. This home came with extra personality in each space. We had fun creating her vision and the results were nothing short of Glamorous!
Ex-London Transbus Trident 2, LK53 EZB (now OIG 1792) at Axminster Square near completion of route 30 from Taunton.
With the completion of its latest series of milestone tests, NASA’s James Webb Space Telescope has now survived all of the harsh conditions associated with a rocket launch to space.
Webb’s recent tests have validated that the fully assembled observatory will endure the deafening noise, and the jarring shakes, rattles and vibrations that the observatory will endure during liftoff. Known as “acoustic” and “sine-sibration” testing, NASA has worked carefully with its international partners to match Webb’s testing environment precisely to what Webb will experience both on launch day, and when operating in orbit.
Though each component of the telescope has been rigorously tested during development, demonstrating that the assembled flight hardware is able to safely pass through a simulated launch environment is a significant achievement for the mission. Completed in two separate facilities within Northrop Grumman’s Space Park in Redondo Beach, California, these tests represent Webb’s final two, in a long series of environmental tests before Webb is shipped to French Guiana for launch.
The next environment Webb will experience is space.
Read the full feature on this milestone: go.nasa.gov/3d5Kuhh
Now that environmental testing has been successfully concluded, Webb will move forward into the last full extension of its iconic primary mirror and sunshield, followed by a full systems evaluation before being encapsulated in a specialized shipping container for transport to South America.
Image: The James Webb Space Telescope is lowered onto environmental test equipment.
Credit: Northrop Grumman
With the completion of its latest series of milestone tests, NASA’s James Webb Space Telescope has now survived all of the harsh conditions associated with a rocket launch to space.
Webb’s recent tests have validated that the fully assembled observatory will endure the deafening noise, and the jarring shakes, rattles and vibrations that the observatory will endure during liftoff. Known as “acoustic” and “sine-sibration” testing, NASA has worked carefully with its international partners to match Webb’s testing environment precisely to what Webb will experience both on launch day, and when operating in orbit.
Though each component of the telescope has been rigorously tested during development, demonstrating that the assembled flight hardware is able to safely pass through a simulated launch environment is a significant achievement for the mission. Completed in two separate facilities within Northrop Grumman’s Space Park in Redondo Beach, California, these tests represent Webb’s final two, in a long series of environmental tests before Webb is shipped to French Guiana for launch.
The next environment Webb will experience is space.
Read the full feature on this milestone: go.nasa.gov/3d5Kuhh
Now that environmental testing has been successfully concluded, Webb will move forward into the last full extension of its iconic primary mirror and sunshield, followed by a full systems evaluation before being encapsulated in a specialized shipping container for transport to South America.
Image: The James Webb Space Telescope is lowered onto environmental test equipment.
Credit: Northrop Grumman
Completion of the structure that will provide location for lighting, and travel protection. Eventually removable 'roof' panels will be added.
After its completion in the early 16th century, Seville Cathedral supplanted Hagia Sophia as the largest cathedral in the world, a title the Byzantine church had held for nearly a thousand years. It is the third-largest church in the world as well as the largest Gothic church. Since the world's two largest churches, the Basilica of the National Shrine of Our Lady of Aparecida and St. Peter's Basilica, are not the seats of bishops Seville Cathedral is still the largest cathedral in the world.
Seville Cathedral was the site of the baptism of Infante Juan of Aragon in 1478, only son of the Catholic Monarchs Ferdinand II of Aragon and Isabella I of Castile. Its royal chapel holds the remains of the city's conqueror Ferdinand III of Castile, his son and heir Alfonso the Wise and their descendant king Pedro el Cruel. The funerary monuments for cardinals Juan de Cervantes and Pedro González de Mendoza Quiñones are located among its chapels. Christopher Columbus and his son Diego are also buried in the cathedral.
The Cathedral of Saint Mary of the See was registered in 1987 by UNESCO as a World Heritage Site, along with the adjoining Alcázar palace complex and the General Archive of the Indies. en.wikipedia.org/wiki/Seville_Cathedral
Continuing at the Horn Lake Target for this photo, but we’re jumping forward a bit. Interrupting our August 2023 remodel photoset, this shot takes us to a time after the remodel’s completion, looking at a set of emergency exit doors at the rear of the salesfloor within sporting goods. Ten years ago, a photo of this very spot was my first-ever upload to flickr. (They realigned the dang aisles in the remodel – there’s now an endcap blocking the spot where I was standing back in 2014, so it was impossible to get the exact same angle!)
I suppose it’s a cliché in and of itself to say I’m at a loss for words, but truly I am. (This, despite the long description you can clearly see below!) I can’t say I’m surprised it’s been that long, because in a lot of ways, no, it does feel like I’ve been doing this for a long time. On the other hand, in other ways, it’s still crazy for me to think I’ve been at this for so long. Ten years is a very long time! That’s a decade of my life – and I’ve only had two of those, plus some change! When I started this account I was a junior in high school, bored at home over Christmas break. I enjoyed the opportunity to document local retail in the region I grew up in as well as the opportunity to join the community, interact with y’all, and curate a photostream (and a blog!) as a fun hobby during college. Five years of that went by, and now I am a CPA living in the capital area of the state I’ve called home for my entire life. I don’t know what I envisioned for myself post-graduation – nothing concrete, really – but I will say that this was an unexpected location, and it’s crazy to me that flickr, and all of its people, has been there this whole time, throughout everything.
I don’t know what to say to you guys. I really don’t think I would have been (or continue to be) as engaged in this hobby if not for all of you – the photos you upload, the blog posts you write, the comments you leave, the images you fave. I wish I could say I had some grand special plan to celebrate ten years, but I really don’t. Heck, as I wrote last week, we’ll be starting 2025 with the remainder of my first-ever photoset not to conclude cleanly at year’s end: no big deal, of course, but internally at least it does seem to speak to the ever-decreasing amount of time I seem to have available to devote to this hobby. And that makes me sad. But, by the same token, I’m still not intending to go anywhere. I do want this to remain fun for me, and I think the crowd I “grew up” with on flickr is mostly experiencing similar pulls in life drawing them away from more regular activity, and that’s okay. I love all the newer folks too, and thoroughly want to continue encouraging people to keep joining the hobby, as it is a ton of fun. Moreover, I like to think it actually does accomplish something important: not just photographing a random store, but documenting an appreciation of design decisions, historical recordkeeping, and so much more than that. And it’s wild to think that my photos may well be an impetus for some people to join the site – I never really anticipated I’d be an inspiration just like many others have been to me!
Anyway, to continue what I was saying – in order to keep this fresh and fun and not get burnt out, uploads may keep slowing down, I don’t know. I don’t want them to, but I’ve also learned I don’t want to make any promises, lol. What I do want to do is keep going through my backlog, because I’ve got plenty of neat places to share, and to let you know that I haven’t stopped adding to the backlog, either, even if it is in much less frequency than years past. I have uploaded over 8,630 photos, and written over 150 blog posts. I can’t believe it! And y’all have viewed and read so, so many of those, some of you 100% of them. Thank you for that!!
I had a goal to photograph all 29 Kroger stores in Mississippi, and I finally met that goal last week, just shy of this 10-year mark. (I’ve actually photographed 32 out of 29 – Kroger closed a few over the years!) I’m sure you know by now that I love the state I live in and I’m proud to be sharing its retail with you guys. As I said, I’ve got so much more to upload in the future, and while I don’t have anything specifically special planned to celebrate ten years, I am at least happy that my final photos of the Horn Lake Target post-remodel will serve as a bit of a way to mark the occasion. With that store having been the very first one I ever uploaded a photo of, that seems pretty fitting to me, and so too was my thinking behind sharing this particular photo for this anniversary.
I did notice that somewhere along the way I must have gotten myself confused, as it looks like that “before” image was uploaded on December 30th, 2014, not the 31st, which is when I thought I joined the site :P Ah well, my annual New Year’s Eve post has become a tradition for me by now, so no sense in changing that up! I’ll see y’all in a few days with some fresh uploads to kick off 2025. Happy New Year everyone, and thanks again for supporting me for 10 years on flickr (and counting)!!
(c) 2024 (for about a day or so anyway) then 2025 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
Notice of Inventory Completion for Native American Human Remains
and Associated Funerary Objects in the Control of the Sioux City Public
Museum, Sioux City, IA (more of this at bottom)
CRAZY DEATH
UPDATE AUG 2010
help with info. A long time ago I seen on the internet that the architect Charles P. Brown who was contracted to design the Peirce mansion was sent to the Insane Asylum in Salt Lake City but before that happened his Business Partner committed suicide. Can anyone else find that article. Please look at the picture in the John Peirce mansion (set) of the fireplace mantle and please read what I have wrote about it Thank you.
A Romanesque-style mansion in Sioux City, Iowa. Built by the mega rich John Peirce in 1890, only a few years later the panic of 1893 hit and the party was over. With his millions gone he had to come up with an idea of how to get his millions back, so the years went by one after another, failed idea's, failed gold hunts in the Black Hills, nothing worked like before. He once said it was a "nightmare" By 1900 things were getting crazy for the Peirce family who loved money and were flamboyant, then John said "I have another idea" and it worked, it was a lottery the prize his mansion, the cost 1 dollar a ticket , the catch, you could never win and you gave your money to enrich the greedy notorious wheeler-dealer John Peirce, it was a big show, a big party everyone was talking about it everyone nation wide "win a beautiful mansion solve your money problems only a $1 a chance" Everyone was really getting pumped (both ways) In December 1900, the show was about to start, the place The Grand Opera House in Sioux City, the date December 24, 1900. everyone was crazed with wanting the mansion and john sold every ticket he had. Somehow the party was canceled at the last minute, and you know what I bet he had the most wonderful Christmas he every had, rolling around in all that money (I know I would). Jan 1901, the next show was at the Union passenger depot and Bert M. Mills from Vinton, Iowa won, then they turned around and said "OOOOO NO you can't have that mansion" in the end millionaire William Barbour from New York got the mansion, years later it was seen in the mansions abstract title that William Barbour got the title transferred to him on December 17, 1900, nineteen days before Barbour was known to hold the "winning ticket". So John gave his house to a man he owed money to, took the money from the people he bilked it out of and left town never to be seen again.On February 12, 1901, Peirce and his family left Sioux City for Seattle. It was at that time that Peirce delivered his bittersweet "Farewell to Sioux City".
Farewell to Sioux City
Goodbye, Sioux City, perhaps for aye. You are at once the birthplace of all my ambitions and the graveyard of all my hopes.
After dedicating thirty years of my best strength to your development, you are not a city but a town, with an interesting past, an uneventful present, and a peaceful and conservative future.
No devotion of mine could prevent the calamity which spread your broken idols all around, and unrelenting fate still holds the ruins in her embrace. No period of prosperity can lend new animation to your fettered limbs, for commerce has her lines not laid within your favored zone.
Yet, old girl, there burns within my bosom that youthful first love that knows no death, and my hope is that, while you lie bound Prometheus-like, no vultures will further pluck your vitals.
Goodbye, goodbye. little did they know he was the one doing the plucking. moved to Seattle to a beautiful large Victorian house, his son also had a large victorian of his own. John and his wife left on a long-planned trip to Europe, the Peirces traveled through France, the Holy Land, and India, it sure was a party again And they lived happily ever after....o ya until he got sick and died a nasty death of cancer which had developed in his chest from an old civil war wound and died June 14, 1910.
Colonel William L. Barbour was also a very very rich man, president of the Linen Thread Company and many others. He had mansions in New York, New Jersey and other states, one of his mansion was designed by the famed architect Stanford White who was murdered at a party in New York by millionaire Harry Kendall Thaw, Mr Thaw was addicted to morphine, heroin, cocaine, f laudanum and was know to carry a silver case full of syringes and other parts of a large "outfit" of injecting equipment. The rage and anger was over his wife Evelyn Nesbit (a beautiful teenage model and one of the most in-demand artists' models in New York) having lost her Virginity to Stanford White and having a crazy house with a swing in it so he could push young girls and a room of mirrors (the Peirce mansion also had a room of mirrors in it) Evelyn Nesbit had also dated John Barrymore of the famous Barrymore family. Anyway, On March 1, 1917, Colonel Barbour died suddenly of heart disease as he was being driven from the Linen Thread Company at 96 Franklin Street to his townhouse on West Fifty-third Street. Despite efforts by the chauffeur to speed his employer to New York Hospital, the Colonel expired en route.
I have always loved the Peirce mansion, ever since the first day I stepped into its massive stone walls hard carved woodwork from top to bottom in December 2003. One story my old man told me, was when he was young and in school , that a Mummified Native American body was in it on display, I was so shocked I did not believe him, until one day I google john peirce mansion and found this. Notice is hereby given in accordance with provisions of the Native
American Graves Protection and Repatriation Act (NAGPRA), 43 CFR 10.9,
of the completion of an inventory of human remains and associated
funerary objects in the control of the Sioux City Public Museum, Sioux
City, IA.
This notice is published as part of the National Park Service's
administrative responsibilities under NAGPRA, 43 CFR 10.2(c). The
determinations within this notice are the sole responsibility of the
museum, institution, or Federal agency that has control of these Native
American human remains and associated funerary objects. The National
Park Service is not responsible for the determinations within this
notice.
A detailed assessment of the human remains was made by Sioux City
Public Museum professional staff in consultation with representatives
of the Cheyenne River Sioux Tribe of the Cheyenne River Reservation,
South Dakota.
In 1965, human remains representing one individual were recovered
from the Larson Village site (32BL9) on the bluff of the Missouri
River, Burleigh County, near Bismark, ND, and donated to the Sioux City
Public Museum by Mrs. J. Rodder. No known individual was identified. No
associated funerary objects are present.
Excavation data show that the Larson Village site was a Mandan
village occupied between C.E. 1600 and 1780.
Based on the above-mentioned information, officials of the Sioux
City Public Museum have determined that, pursuant to 43 CFR 10.2
(d)(1), the human remains listed above represent the physical remains
of one individual of Native American ancestry. Officials of the Sioux
City Public Museum also have determined that, pursuant to 43 CFR 10.2
(e), there is a relationship of shared group identity that can be
reasonably traced between these Native American human remains and the
Three Affiliated Tribes of the Fort Berthold Reservation, North Dakota.
On May 18, 1994, these human remains were repatriated to Sebastian
(Bronco) LeBeau on behalf of the Cheyenne River Sioux Tribe of the
Cheyenne River Reservation, South Dakota. Questions or concerns related
to the repatriation of the human remains described in this notice can
be directed to Sebastian (Bronco) LeBeau, Cultural Preservation
Officer, Cheyenne River Sioux Tribe, P.O. Box 590, Eagle Butte, SD
57625, telephone (605) 964-4155.This notice has been sent to officials
of the Cheyenne River Sioux Tribe of the Cheyenne River Reservation,
South Dakota; and the Three Affiliated Tribes of the Fort Berthold
Reservation, North Dakota. Representatives of any other Indian tribe
that believes itself to be culturally affiliated with these human
remains should contact Mr. Daniel Truckey, NAGPRA Representative, Sioux
City Public Museum, 2901 Jackson Street, Sioux City, IA 51104-3697,
telephone (712) 224-5001, before July 5, 2001.
Dated: May 11, 2001.
John Robbins,
Assistant Director, Cultural Resources Stewardship and Partnerships.
March to May 2013 marks the 40th anniversary of the completion of the CN Tower’s foundation excavation and the laying of the foundation mat of concrete & rebar. The images show the early phase of the foundation mat being built. Once the rock was excavated, a thin layer of quick-set concrete was sprayed onto the rocks to keep them from drying out. Then a lattice of rebar was cris-crossed to form the lower, then upper, portions of the hollow foundation structure. While many people believe the foundation “must be hundreds of feet deep”, in actual fact it is a mere 18 feet high with a “toe” on the outside edges to prevent rock fracturing. The low centre of gravity of the tower keeps it upright even in the worst of windy conditions.
completion dated 20.Mai 1424 ; from the Barfüßerkirche in Göttingen ; tempera on oak ; the square panels about 1m square ; most recently restored 1999-2005
Completion of the upper spheres (early 1958)
Photographer: Pieter vandeweyer
Brussels world fair
en.wikipedia.org/wiki/Atomium#/media/File:1_-2018-www_ato...
A girder for the new South 216th Street Bridge in SeaTac, WA flies through the air with the greatest of ease thanks to a pair of construction cranes.
The girders for the bridge are 168 feet long, weighing in just under 96 tons each.
In June 2023, contractor crews set six girders for the southern half of the new bridge. Another 10 girders will be set in 2024 after the existing bridge is demolished to make room for the northern half of the new bridge.
Crews are also setting 24 girders immediately north of South 216th Street for a new northbound I-5 flyover ramp that will connect to the new SR 509 Expressway.
The new bridge and flyover ramp are just two improvements that are part of the Puget Sound Gateway Program's SR 509 Completion Project.
LUC was responsible for public realm and landscape design for 500 bed student housing development in the Partick area of Glasgow’s West End. LUC deployed a clear hierarchy to the design proposals creating a series of interconnecting primary and secondary spaces. The primary spaces deployed a distinctive paving pattern that was inspired by the rich textures of wheatfields, a nod to the area’s bread mill heritage.
For more information, visit: www.landuse.co.uk
The W at the BQ .. a new riverside complex thats nearing completion .
Brisbane Quarter
North Quay . Brisbane
About 90% done, just need to do running gear and electronics next and get the missing drivers I need.
Quick one for the fun of it, right near the end of the "Blue hour".
F10 25s at 18:03 PM. I should have exposed for about 35s (not 25) but the longer you expose, the more light trails and I had the trails I wanted.
Still I think we can see how quickly the blue disappears from the sky. Don't think it's a blue hour in winter. Maybe half an hour.
Captured at 50mm. I haven't tested it 'wider' yet. Will get to that sometime soon.
LUC was responsible for public realm and landscape design for 500 bed student housing development in the Partick area of Glasgow’s West End. LUC deployed a clear hierarchy to the design proposals creating a series of interconnecting primary and secondary spaces. The primary spaces deployed a distinctive paving pattern that was inspired by the rich textures of wheatfields, a nod to the area’s bread mill heritage.
For more information, visit: www.landuse.co.uk
en.wikipedia.org/wiki/Philae_temple_complex
The Philae temple complex (/ˈfaɪliː/; Greek: Φιλαί or Φιλή and Πιλάχ, Arabic: فيلة Egyptian Arabic: [fiːlæ], Egyptian: p3-jw-rķ' or 'pA-jw-rq; Coptic: ⲡⲓⲗⲁⲕ, ⲡⲓⲗⲁⲕϩ, Coptic pronunciation: [ˈpilɑk, ˈpilɑkh]) is an island-based temple complex in the reservoir of the Aswan Low Dam, downstream of the Aswan Dam and Lake Nasser, Egypt.
Until the International Campaign to Save the Monuments of Nubia, the temple complex was located on Philae Island, near the expansive First Cataract of the Nile in Upper Egypt. These rapids and the surrounding area have been variously flooded since the initial construction of the Aswan Low Dam in 1902. The temple complex was dismantled and moved to nearby Agilkia Island as part of the UNESCO Nubia Campaign project, protecting this and other complexes before the 1970 completion of the Aswan High Dam. The hieroglyphic reliefs of the temple complex are being studied and published by the Philae Temple Text Project of the Austrian Academy of Sciences, Vienna (Institute OREA).
Geography
Philae is mentioned by numerous ancient writers, including Strabo, Diodorus Siculus, Ptolemy, Seneca, Pliny the Elder. It was, as the plural name indicates, the appellation of two small islands situated in latitude 24° north, just above the First Cataract near Aswan (Egyptian Swenet "Trade;" Ancient Greek: Συήνη). Groskurd computes the distance between these islands and Aswan at about 100 km (62 mi).
Despite being the smaller island, Philae proper was, from the numerous and picturesque ruins formerly there, the more interesting of the two. Before the inundation, it was not more than 380 metres (1,250 ft) long and about 120 metres (390 ft) broad. It is composed of syenite: its sides are steep and on their summits a lofty wall was built encompassing the island.
Since Philae was said to be one of the burying-places of Osiris, it was held in high reverence both by the Egyptians to the north and the Nubians (often referred to as "Ethiopians" in Greek) to the south. It was deemed profane for any but priests to dwell there and was accordingly sequestered and denominated "the Unapproachable" (Ancient Greek: ἄβατος). It was reported too that neither birds flew over it nor fish approached its shores. These indeed were the traditions of a remote period; since in the time of the Ptolemaic Kingdom, Philae was so much resorted to, partly by pilgrims to the tomb of Osiris, partly by persons on secular errands, that the priests petitioned Ptolemy VIII Physcon (170-117 BC) to prohibit public functionaries at least from coming there and living at their expense.
In the nineteenth century, William John Bankes took the Philae obelisk on which this petition was engraved to England. When its Egyptian hieroglyphs were compared with those of the Rosetta Stone, it threw great light upon the Egyptian consonantal alphabet.
The islands of Philae were not, however, merely sacerdotal abodes; they were the centres of commerce also between Meroë and Memphis. For the rapids of the cataracts were at most seasons impracticable, and the commodities exchanged between Egypt and Nubia were reciprocally landed and re-embarked at Syene and Philae.
The neighbouring granite quarries also attracted a numerous population of miners and stonemasons; and, for the convenience of this traffic, a gallery or road was formed in the rocks along the east bank of the Nile, portions of which are still extant.
Philae also was remarkable for the singular effects of light and shade resulting from its position near the Tropic of Cancer. As the sun approached its northern limit the shadows from the projecting cornices and moldings of the temples sink lower and lower down the plain surfaces of the walls, until, the sun having reached its highest altitude, the vertical walls are overspread with dark shadows, forming a striking contrast with the fierce light which illuminates all surrounding objects.
Construction
The most conspicuous feature of both islands was their architectural wealth. Monuments of various eras, extending from the Pharaohs to the Caesars, occupy nearly their whole area. The principal structures, however, lay at the south end of the smaller island.
The most ancient was a temple for Isis, built in the reign of Nectanebo I during 380-362 BC, which was approached from the river through a double colonnade. Nekhtnebef was his ancient Egyptian royal titulary and he became the founding pharaoh of the Thirtieth and last native dynasty when he deposed and killed Nepherites II.
For the most part, the other ruins date from the Ptolemaic Kingdom, more especially with the reigns of Ptolemy II Philadelphus, Ptolemy V Epiphanes, and Ptolemy VI Philometor (282-145 BC), with many traces of Roman work in Philae dedicated to Ammon-Osiris.
In front of the propyla were two colossal lions in granite, behind which stood a pair of obelisks, each 13 metres (43 ft) high. The propyla were pyramidal in form and colossal in dimensions. One stood between the dromos and pronaos, another between the pronaos and the portico, while a smaller one led into the sekos or adyton. At each corner of the adytum stood a monolithic shrine, the cage of a sacred hawk. Of these shrines one is now in the Louvre, the other in the Museum at Florence.
Beyond the entrance into the principal court are small temples, one of which, dedicated to Isis, Hathor, and a wide range of deities related to midwifery, is covered with sculptures representing the birth of Ptolemy Philometor, under the figure of the god Horus. The story of Osiris is everywhere represented on the walls of this temple, and two of its inner chambers are particularly rich in symbolic imagery. Upon the two great propyla are Greek inscriptions intersected and partially destroyed by Egyptian figures cut across them.
The monuments in both islands indeed attested, beyond any others in the Nile valley, the survival of pure Egyptian art centuries after the last of the Pharaohs had ceased to reign. Great pains have been taken to mutilate the sculptures of this temple. The work of demolition is attributable, in the first instance, to the zeal of the early Christians, and afterward, to the policy of the Iconoclasts, who curried favour for themselves with the Byzantine court by the destruction of heathen images as well as Christian ones.[citation needed] Images/icons of Horus are often less mutilated than the other carvings. In some wall scenes, every figure and hieroglyphic text except that of Horus and his winged solar-disk representation have been meticulously scratched out by early Christians. This is presumably because the early Christians had some degree of respect for Horus or the legend of Horus - it may be because they saw parallels between the stories of Jesus and Horus (see Jesus in comparative mythology#Iconography and #Dying-and-rising god archetype).
The soil of Philae had been prepared carefully for the reception of its buildings–being leveled where it was uneven, and supported by masonry where it was crumbling or insecure. For example, the western wall of the Great Temple, and the corresponding wall of the dromos, were supported by very strong foundations, built below the pre-inundation level of the water, and rested on the granite which in this region forms the bed of the Nile. Here and there steps were hewn out from the wall to facilitate the communication between the temple and the river.
At the southern extremity of the dromos of the Great Temple was a smaller temple, apparently dedicated to Hathor; at least the few columns that remained of it are surmounted with the head of that goddess. Its portico consisted of twelve columns, four in front and three deep. Their capitals represented various forms and combinations of the palm branch, the doum palm branch, and the lotus flower. These, as well as the sculptures on the columns, the ceilings, and the walls were painted with the most vivid colors, which, owing to the dryness of the climate, have lost little of their original brilliance.
History
The ancient Egyptian name of the smaller island meant "boundary". As their southern frontier, the pharaohs of Egypt kept there a strong garrison, and it was also a barracks for Greek and Roman soldiers in their turn.
The first religious building on Philae was likely a shrine built by Pharaoh Taharqa of the 25th Dynasty, which was probably dedicated to Amun. However this structure is only known from a few blocks reused in later buildings, which Gerhard Haeny suspects may have been brought over for reuse from structures elsewhere.
The oldest temple to have undoubtedly stood on the island, as well as the first evidence of Isis-worship there, was a small kiosk built by Psamtik II of the 26th Dynasty. This was followed by contributions from Amasis II (26th Dynasty) and Nectanebo I (30th Dynasty). Of these early buildings, only two elements built by Nectanebo I survive– a kiosk that was originally the vestibule of the old Isis temple, and a gateway which was later incorporated into the first pylon of the current temple.
Ptolemaic era
More than two thirds of Philae's surviving structures were built in the Ptolemaic era, during which the island became a prominent site of pilgrimage not only for Egyptians and Nubians but for pilgrims from as far as Anatolia, Crete, and the Greek mainland. Some of these pilgrims marked their presence with inscriptions on the temple walls, including votive inscriptions known as proskynemata, as well as other types. Among these are inscriptions left by four Romans in 116 BC, which represent the oldest known Latin inscriptions in Egypt.
Along with the various contributions of Ptolemaic rulers, Philae also received additions from the Nubian king Arqamani, who contributed to the Temple of Arensnuphis and the mammisi, and his successor Adikhalamani, whose name has been found on a stela on the island. Some experts have interpreted these additions as signs of collaboration between the Nubian and Ptolemaic governments, but others consider them to represent a period of Nubian occupation of the region, likely enabled by the revolt of Hugronaphor in Upper Egypt. The cartouches of Arqamani were later erased by Ptolemy V, while the stela of Adikhalamani was eventually reused as filling under the floor of the pronaos.
Roman era
The Roman era saw an overall decline in pilgrimage to Philae, especially from Mediterranean regions, as evidenced by the reduced number of inscriptions. Nevertheless, it remained an important sacred site, especially for Nubians, who continued to visit both as individual pilgrims and in official delegations from their government in Meroë.
Several Roman emperors made artistic and architectural contributions to Philae. While most of the architectural additions date to the Julio-Claudian dynasty, the island continued to receive contributions to its temples up to the time of Caracalla as well as a triple arch built by Diocletian. In AD 298, Diocletian ceded Roman territory south of the First Cataract as part of an agreement made with the neighboring Nobades, withdrawing the border to about the area of Philae itself. The Kushite king Yesebokheamani made a pilgrimage to Philae in this period and may have taken over the Roman hegemony.
During the Roman era, Philae was the site of the last known inscription in Egyptian hieroglyphs, written in AD 394, and the last known Demotic inscription, written in 452.
Christianization
Christianity seems to have been present at Philae by the fourth century, at which point it coexisted with traditional Egyptian religion. According to the Coptic hagiography Life of Aaron, the first bishop of Philae was Macedonius (attested in the early fourth century), who is said to have killed the sacred falcon kept on the island, though modern experts question the historicity of this account. By the mid fifth century, a petition from Bishop Appion of Syene to co-emperors Theodosius II and Valentinian III indicates the presence of multiple churches on the island functioning alongside the pagan temples.
Traditional worship at Philae appears to have survived into at least the fifth century, despite the anti-pagan persecutions of that time. In fact, the fifth-century historian Priscus mentions a treaty between the Roman commander Maximinus and the Blemmyes and Nobades in 452, which among other things ensured access to the cult image of Isis.
According to the sixth-century historian Procopius, the temple was closed down officially in AD 537 by the local commander Narses the Persarmenian in accordance with an order of Byzantine emperor Justinian I. This event is conventionally considered to mark the end of ancient Egyptian religion. However, its importance has recently come into question, following a major study by Jitse Dijkstra who argues that organized paganism at Philae ended in the fifth century, based on the fact that the last inscriptional evidence of an active pagan priesthood there dates to the 450s. Nevertheless, some adherence to traditional religion seems to have survived into the sixth century, based on a petition from Dioscorus of Aphrodito to the governor of the Thebaid dated to 567. The letter warns of an unnamed man (the text calls him "eater of raw meat") who, in addition to plundering houses and stealing tax revenue, is alleged to have restored paganism at "the sanctuaries," possibly referring to the temples at Philae.
Philae retained significance as a Christian center even after its closure as a pagan site. Five of its temples were converted into churches (including the Temple of Isis, which was dedicated to Saint Stephen), and two purpose built churches were constructed on the north side of the island.
1800s
The island of Philae attracted much attention in the 19th century. In the 1820s, Joseph Bonomi the Younger, a British Egyptologist and museum curator visited the island. So did Amelia Edwards, a British novelist in 1873–1874.
The approach by water is quite the most beautiful. Seen from the level of a small boat, the island, with its palms, its colonnades, its pylons, seems to rise out of the river like a mirage. Piled rocks frame it on either side, and the purple mountains close up the distance. As the boat glides nearer between glistening boulders, those sculptured towers rise higher and even higher against the sky. They show no sign of ruin or age. All looks solid, stately, perfect. One forgets for the moment that anything is changed. If a sound of antique chanting were to be borne along the quiet air–if a procession of white-robed priests bearing aloft the veiled ark of the God, were to come sweeping round between the palms and pylons–we should not think it strange.
— Amelia B. Edwards, A thousand miles up the Nile / by Amelia B. Edwards, 1831-1892, p. 207.
These visits are only a small sample of the great interest that Victorian-era Britain had for Egypt. Soon, tourism to Philae became common.
1900s
In 1902, the Aswan Low Dam was completed on the Nile River by the British. This threatened to submerge many ancient landmarks, including the temple complex of Philae. However, the British prioritized the advancement of Modern Egypt at the expense of the complex. The height of the dam was raised twice, from 1907 to 1912 and from 1929 to 1934, and the island of Philae was nearly always flooded. In fact, the only times that the complex was not underwater was when the dam's sluices were open from July to October.
It was proposed that the temples be relocated, piece by piece, to nearby islands, such as Bigeh or Elephantine. However, the temples' foundations and other architectural supporting structures were strengthened instead. Although the buildings were physically secure, the island's attractive vegetation and the colors of the temples' reliefs were washed away. Also, the bricks of the Philae temples soon became encrusted with silt and other debris carried by the Nile.
Rescue project
The temples had been practically intact since the ancient days, but with each inundation the situation worsened and in the 1960s the island was submerged up to a third of the buildings all year round.
In 1960 UNESCO started a project to try to save the buildings on the island from the destructive effect of the ever-increasing waters of the Nile. First, building three dams and creating a separate lake with lower water levels was considered.
First of all, a large coffer dam was built, constructed of two rows of steel plates between which a 1 million cubic metres (35 million cubic feet) of sand was tipped. Any water that seeped through was pumped away.
External images
Next the monuments were cleaned and measured, by using photogrammetry, a method that enables the exact reconstruction of the original size of the building blocks that were used by the ancients. Then every building was dismantled into about 40,000 units from 2 to 25 tons, and then transported to the nearby Island of Agilkia, situated on higher ground some 500 metres (1,600 ft) away. The transfer itself took place between 1977 and 1980.
Nearby locations of interest
Prior to the inundation, a little west of Philae lay a larger island, anciently called Snem or Senmut, but now Bigeh. It is very steep, and from its most elevated peak affords a fine view of the Nile, from its smooth surface south of the islands to its plunge over the shelves of rock that form the First Cataract. Philae, Bigeh and another lesser island divided the river into four principal streams, and north of them it took a rapid turn to the west and then to the north, where the cataract begins.
Bigeh, like Philae, was a holy island; its ruins and rocks are inscribed with the names and titles of Amenhotep III, Ramesses II, Psamtik II, Apries, and Amasis II, together with memorials of the later Macedonian and Roman rulers of Egypt. Its principal ruins consisted of the propylon and two columns of a temple, which was apparently of small dimensions, but of elegant proportions. Near them were the fragments of two colossal granite statues and also an excellent piece of masonry of much later date, having the aspect of an arch belonging to a church or mosque.
The New Mosque (Turkish: Yeni Cami, pronounced [jeni dʒami], originally named the Valide Sultan Mosque, Turkish: Valide Sultan Camii) and later New Valide Sultan Mosque (Turkish: Yeni Valide Sultan Camii) after its partial reconstruction and completion between 1660 and 1665, is an Ottoman imperial mosque located in the Eminönü quarter of Istanbul, Turkey. It is situated on the Golden Horn, at the southern end of the Galata Bridge, and is a notable Istanbul landmark marking the crossing from the old historic core of the city to the Beyoğlu (Pera) district. The mosque is a notable example of the Sultanate of Women period in Ottoman Empire.
The construction of the mosque began in 1597. It was ordered by Safiye Sultan, who was the wife of Sultan Murad III and later Valide Sultan (Queen Mother) of Sultan Mehmed III. She ordered the mosque in her capacity as Valide Sultan, two years after Mehmed III's ascension to the Ottoman throne in 1595, hence the original formal name "Valide Sultan Mosque".
The original architect was Davut Ağa, an apprentice to the great Mimar Sinan. However, Davut Ağa died in 1599 and was replaced by Dalgıç Ahmed Çavuş. The construction took more than half a century and was completed by another Valide Sultan, Turhan Sultan, mother of Sultan Mehmed IV.
The project was hampered by political disconnect, and its location and monetary implications created dissent in the court. Eminönü was the city's foremost commercial centre, and home to a predominantly Jewish population. In situating the mosque there, Safiye Sultan hoped to extend the sphere of Islamic influence within the city, capitalising on the growing discontent of both local and foreign merchants who were concerned by the increasing influence of their Jewish counterparts, which gave the Sultan an easy justification for confiscating their property. However, the vast monetary outlay drew sharp criticism. In particular, the Janissaries resented the growing political power of the Valide sultan, and believed the mosque to be an unnecessary expenditure. Safiye was forced to abandon the project upon Mehmed III's death in 1603. The new Sultan, Ahmed I, had no interest in pursuing the project after Safiye was relegated to the harem and the construction was abandoned.
After 1603, the partially constructed structure gradually fell into ruins; and was severely damaged during the Great Fire of 1660 which destroyed many neighbourhoods in the city. Later that year, the imperial architect Mustafa Ağa suggested that Turhan Sultan, mother of Sultan Mehmed IV, should complete the project as a work of piety. Turhan also ordered the construction of the nearby Spice Bazaar, which forms a part of the külliye of the New Mosque. Thus, in the last months of 1660, the construction of the mosque was resumed, while the construction of the adjacent bazaar began.
The mosque was finally completed in 1663, and inaugurated in 1665. It was renamed the "New Valide Sultan Mosque" (Yeni Valide Sultan Camii). In time, this name was informally shortened as the "New Mosque" (Yeni Cami) among the public.