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Krak des Chevaliers (French pronunciation: [kʁak de ʃəvaˈlje]), transliterated Crac des Chevaliers, is a Crusader fortress in Syria and one of the most important preserved medieval military castles in the world. In Arabic, the fortress is called Qal'at al-Ḥiṣn (Arabic: قلعة الحصن), the word Krak coming from the Syriac karak, meaning fortress. It is located approximately 40 km west of the city of Homs, close to the border of Lebanon, and is administratively part of the Homs Governorate. The original fortress at this location had been built in 1031 for the emir of Aleppo.
During the First Crusade in 1099 it was captured by Raymond IV of Toulouse, but then abandoned when the Crusaders continued their march towards Jerusalem. It was reoccupied again by Tancred, Prince of Galilee in 1110. In 1142 it was given by Raymond II, count of Tripoli, to the Hospitallers, contemporaries of the Knights Templar.
Krak des Chevaliers was the headquarters of the Knights Hospitaller during the Crusades. It was expanded between 1150 and 1250 and eventually housed a garrison of 2,000.
In 1163 the fortress was unsuccessfully besieged by Nur ad-Din Zengi, after which the Hospitallers became an essentially independent force on the Tripolitanian frontier. By 1170 the Hospitallers' modifications were complete. In the late 12th and early 13th century numerous earthquakes caused some damage and required further rebuilding.
Saladin unsuccessfully besieged the castle in 1188. During the siege the castellan was captured and taken by Saladin's men to the castle gates where he was told to order the gates opened.
In 1217, during the Fifth Crusade, king Andrew II of Hungary strengthened the outer walls and financed the guarding troops. In 1271 the fortress was captured by Mamluk Sultan Baibars on April 8 with the aid of heavy trebuchets and mangonels, at least one of which was later used to attack Acre in 1291. However, to conquer the castle, Baibars used a trick, by presenting a forged letter from the Crusader Commander in Tripoli, ordering the defenders to surrender the castle. Otherwise, this immensely strong castle would probably never have fallen. Baibars refortified the castle and used it as a base against Tripoli. He also converted the Hospitaller chapel to a mosque
Yep, we had disco balls on our Christmas tree. They're much more fun in the sunlight (like this one is) because they bounce the reflected light all over the place.
Bronze fang (wine container) with gold and silver geometric inlay. Chinese, Western Han (206 BC - 9 AD). Nanxiaoxiang, Lianhu, Xian, Shaanxi, China. From the Xian Museum. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
This exquisite exterior mosaic tile was made by Malibu Potteries, a ceramic tile manufacturer located on the Rancho Malibu, in California.
The Rancho Malibu had been purchased in 1891 by Fredrick Hastings Rindge and his wife, May. The Rancho was a 22 mile slice of unspoilt paradise bounded by the Malibu Mountains and the Pacific Ocean.
In 1926, May Rindge stated the Malibu Potteries. She had discovered that the Rancho was rich in the natural resources, red and buff burning clays, needed to manufacture high-grade ceramic tile. The Potteries, carried a full line of tile for almost every architectural purpose, exterior and interior. The tiles of the Malibu Potteries are among the most beautiful, finely detailed, and well executed pieces of their kind ever manufactured locally. Their production was distinguished by the specialization in reproductions of European hand decorated tiles, specifically designs from the Islamic sacred art tradition of Saracen and Moorish decorative tile. The designs, inspired by Islamic craftsmen, consist of primarily abstract patterns and geometric forms including stylized plant forms. It is not generally known how the Potteries gained access to these designs. It seems that some designs were copied from books while some were obtained from people who traveled in Europe.
The tile was used extensively at the residence of May's daughter, Rhoda Rindge Adamson, for the Adamson Beach House. The architect for the beach house was Stiles Clements of Morgan , Walls and Clements. The Adamson House was designed in a Mediterranean style with authentic Moorish and Spanish details throughout. The house is a masterpiece in the use of architectural decorative tile, also custom-designed for this house. It is used on the exterior and interior and is the dominant motif of the building. It is used for floor coverings, wainscoting, fireplaces, wall and ceiling surfaces, outdoor terraces and fountains, built in benches, the swimming pool and bath house. The designs are numerous and exquisite in their detail, beauty, color, craftsmanship, and variety.
In 1968, the Adamson Beach House and 13 acres of gardens and beaches, now designated on the National Register of Historic Sites as well as the State Register of Historic Places, were acquired by the State of California to add to and expand Malibu Lagoon State Park. The Adamson Beach House serves as the greatest surviving testimony to the artistry of Malibu Potteries' dazzling production.
Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925 - 1930) belongs to the PPL Building in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its striking minimalist Art Deco design. It features the building's name in a rounded cartouche on the building's corner facade which overlooks Albert Street. The PPL Building has a stylised stepped roofline, long spandrels with rounded edging and glass brick windows, all of which were popular architectural features of the Art Deco movement in the late 1920s and early 1930s. The rounded edges are very representative of the Streamline Moderne movement, and the building is everything a smart and successful business would want in the booming interwar years in Australia.
David MacDonald of Syracuse, New York
5th Annual Cousins in Clay 2013
June 1 and 2, 2013
A Show and Sale of Contemporay Pottery
In Seagrove, North Carolina
at Bulldog Pottery
Special Guest Potters - David MacDonald and Jack Troy
Hosted by Bruce Gholson, Samantha Henneke, and Michael Kline
Close-up of a uniquely designed chimney on the rooftop of Casa Milà, highlighting its mosaic patterns and abstract shape. The silhouette against the evening sky creates a stunning visual contrast, capturing the essence of Antoni Gaudí's architectural genius. Casa Milà, also known as La Pedrera, is one of the most celebrated landmarks in Barcelona, Spain, and a testament to Gaudí’s imaginative and innovative design philosophy.
Engraved Standing Stone with spirals (snake?) design. Cromlech of Almendres, Granite, Neolithic, 3rd or 4th Millenium BC. Almendras, Evora, Portugal. Copyright 2023, James A. Glazier
Surrounded by a well kept lawn and garden beds of roses, this sprawling Reformist (Arts and Crafts) style bungalow may be found in the provincial Victorian city of Ballarat.
Built in the years just before or after the Great War (1914 - 1918), the transition from Edwardian villa to the popular low slung Californian Bungalow of the early 1920s is more obvious than some of its neighbours. The large leadlight glass windows are very in keeping with the Arts and Crafts Movement, as is the band of red bricks along the foundation of the property. However, the Art Deco era is starting to make its presence known by way of the rounded porch canopy, the geometric patterns on the flower boxes below the windows and the stuccoed wall treatment. The lack of decoration is a definate move away from the stylised and highly decorative Queen Anne style that preceded it.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. However, this house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
Decorated bronze mount with engraved triple-spiral fractal Celtic Knot design. From Donore, County Meath. Irish, Early 8th Century AD. National Museum. Dublin, Ireland. Copyright 2016, James A. Glazier
Drunken Bacchus (Dionysos) supported by satyr, with a large empty kylix on the floor. Dionysus mosaic (220 AD - 230 AD). Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
Surrounded by a well kept lawn and trimmed hedge of diosmas, this sprawling Reformist (Arts and Crafts) style bungalow may be found at the far, Merri Creek end of The Grove, the elm lined and most prestigious street in the inner Melbourne suburb of Coburg.
Built in the years just before or after the Great War (1914 - 1918), it is possibly the newest house in the area. The transition from Edwardian villa to the popular low slung Californian Bungalow of the early 1920s is now far more obvious than some of its neighbours. The choice of red and brown brick to construct the house is very in keeping with the Arts and Crafts Movement, as are the stylised panes of glass in the windows. However, the Art Deco era is starting to make its presence known by way of the rounded porch canopy which has a geometric pattern on its pediment. Aside from the windows, this is the only decoration the house features, and this is a definate move away from the stylised and highly decorative Queen Anne style.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. However, this house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
The Grove, was part of the Moreland Park Estate. This was Coburg's most prestigious subdivision in the 1880s. In 1882 Charles Moreland Montague Dare, a St Kilda businessman, bought Jean Rennie's forty acre farm and, with his architect, T. J. Crouch, subdivided thirty acres of it into 147 allotments. The Grove was originally christened Moreland Grove after its owner. A covenant was placed on the subdivision prohibiting the building of hotels or shops, or any house under the value of 400 pounds. By 1890 there were twenty-four brick houses on the estate, twenty one of them owned by Charles Moreland Montague Dare himself. There was a caretaker to tend the streets, the wooden pavilion and the tennis courts, which soon became a bowling rink to suit the more sedate interests of the residents. Men of substance, including a banker, a merchant, a manufacturer and several civil servants and accountants lived on the estate and the Moreland Park Ladies' College in The Grove offered a genteel education. By the 1890s the Melbourne property boom had burst and by 1900 there were still only twenty seven houses in The Grove and many vacant allotments; Charles Moreland Montague Dare's own place at "Moreland Park", a ten acre property on Merri Creek, added to the rural atmosphere. In 1896 Dare fell into financial difficulties and had to transfer many of his properties to the Australian Widows' Fund Life Assurance Society. In 1900 he owned only seven houses, a few allotments and Moreland Park. He died in 1919.
Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.
www.scribd.com/fullscreen/46541840?access_key=key-2gcrwop...
529: Taken just as an approaching rain storm head towards us at Alamitos Bay in Long Beach, CA. Nobody on the docks and everything tied down and secured for the storm.
I like the angles and telephoto compression of distance. It keeps me looking further into the photo. I hope you enjoy it as much as I do.
My new years resolution was to post at least one photo I enjoy each day. This is today's submission.
Engraved Standing Stone with circles. Cromlech of Almendres, Granite, Neolithic, 3rd or 4th Millenium BC. Almendras, Evora, Portugal. Copyright 2023, James A. Glazier
Asymmetrical Inverted Cut Geometric Shaved Side : I took several inches off Fabby’s hair to create this nice asymmetrical Inverted pixie bob haircut and I touched up her shaved side with a geometric design.
sarasotabradentonhairsalon.com/asymmetrical-inverted-cut-...
I finally caught up on editing this past weekend and got around to some photos I've put on the back burner for awhile. This beautiful dress comes from an English boutique line called Geometric Designs. This was shot last November on the same day I did the N'Damus shoot.
Model: Maria Skorobogatov
MUA: Elizabeth Thompson
Strobist Info:
Left: White Lightning @ 1/8 fired through softbox via PWs
Drawings of multi-leaf shell structures using interconnecting hyperbolic paraboloids of latticed tubular members
Silk complex gauze (luoqi) with lozenges. Found in the Tomb of lady Dai (d. 168 BC), Mawangdui, Changsha, Hunan, China. Chinese, Western Han, 2nd Century BC. From the Hunan Provincial Museum, Changsha. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
This is a single Magic-Cube consits of 12 individual Pyramids. Each one connected on two sides and carrying rare-earth magnets to help stabilize the major structures. A single Cube has 36 magnets. There are 5 major shapes that will „fall into place“, meaning the magnets will pull it together and no hinge is left flexible. As a toy the Cube posesses the challenge of a Riddle to unlock the different Shapes or to find the paths of shortest movement between them. As Art it can be left Standing, or with the supplied Wallmount, be displayed as a hanging Object. The beauty of this dissection, displayed in Numbers, are the different sidelengths of a Single Pyramid. Namely: One, Sqareroot of Two and Half Squareroot of Three.
Want to see the transformation of a single "Surfer" Magic Geocube? Go to vimeo.com/user23706515/geobender/geocubes/surfer_single
Would you like to see more Magic Geocubes? You want to buy one or more? Go to www.GeoBender.com
Bronze cowry container in the style of a Cham drum with 35 non-Chinese figurines of sacrifice on lid. A gilded female in palanquin is escorted by horsemen and servants. A kneeling female holds a parasol. Two men and a woman use a shovel and sowing tools in a planting ritual. Found in Tomb #69, Lijiashan, Jiangchuan, Yunnan. 206 BC - 9 AD. Lijiashan Museum of Bronzes, Jiangchuan. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
The facade of a pretty stylised white stuccoed brick Art Deco stand alone villa in the Melbourne suburb of Thornbury.
This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks in geometric patterns and geometric leadlight windows were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the "Metroland" style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy. The pillars are Spanish Misson style, an architectural movement also popular in Australia during the interwar years.
This house has a newly furbished garden with a hibiscus, a palm and a jade plant (also known as a "money tree") which is so mature that it may have been planted when the house was built. Succulents such as jade plants and other exotics were very popular in Australian gardens in the 1920s and 30s.
Painted unglazed earthenware. Japigian, South-Italian Geometric, 9th Century BC - 8th Century BC, Archaeological Museum. Egnazia. Apulia, Italy. Copyright 2016, James A. Glazier.
Bronze cowry container in the style of a Cham drum with 35 non-Chinese figurines of sacrifice on lid. A gilded female in palanquin is escorted by horsemen and servants. A kneeling female holds a parasol. Two men and a woman use a shovel and sowing tools in a planting ritual. Found in Tomb #69, Lijiashan, Jiangchuan, Yunnan. 206 BC - 9 AD. Lijiashan Museum of Bronzes, Jiangchuan. Special exhibit: Age of Empires: Chinese Art of the Qin and Han Dynasties (221 B.C.–A.D. 220). Metropolitan Museum, New York, New York, USA. Copyright 2017, James A. Glazier
Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925 - 1930) belongs to the PPL Building in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its striking minimalist Art Deco design. It features the building's name in a rounded cartouche on the building's corner facade which overlooks Albert Street. The PPL Building has a stylised stepped roofline, long spandrels with rounded edging and glass brick windows, all of which were popular architectural features of the Art Deco movement in the late 1920s and early 1930s. The rounded edges are very representative of the Streamline Moderne movement, and the building is everything a smart and successful business would want in the booming interwar years in Australia.
This is a single Magic-Cube consits of 12 individual Pyramids. Each one connected on two sides and carrying rare-earth magnets to help stabilize the major structures. A single Cube has 36 magnets. There are 5 major shapes that will „fall into place“, meaning the magnets will pull it together and no hinge is left flexible. As a toy the Cube posesses the challenge of a Riddle to unlock the different Shapes or to find the paths of shortest movement between them. As Art it can be left Standing, or with the supplied Wallmount, be displayed as a hanging Object. The beauty of this dissection, displayed in Numbers, are the different sidelengths of a Single Pyramid. Namely: One, Sqareroot of Two and Half Squareroot of Three.
Want to see the transformation of a single Magic "Nautilus" Geocube? Go to vimeo.com/user23706515/geobender/geocubes/nautilus_single
Would you like to see more Magic Geocubes? You want to buy one or more? Go to www.GeoBender.com
Although not famous for its Art Deco architecture, the provincial Victorian city of Ballarat, which was established between the 1860s and 1880s when the area was at the centre of a gold rush, does have some fine examples of interwar and post war architecture when the gold boom was replaced with wealth generated through grazing and agriculture.
During the 1920s and 1930s, those people thriving from farming or local industry had plenty to spend in local shops. This wonderful Art Deco facade (circa 1925) belongs to a shop in Ballarat's main shopping thoroughfare, Sturt Street. Whilst the street level may have fallen victim to the changes in marketing, the upper floors remain unchanged by fickle owners. It still retains its Functionalist windows and Art Deco grillework. It features a central fin and has a stylised stepped roofline, both of which were popular architectural features of the Art Deco movement.
Built in the 1920s, this pretty stylised white stuccoed brick Art Deco villa can be found in the Melbourne suburb of Travancore.
This cottage style with its low slung tile roof in a mixture of shades, white stucco work, picked out brown and red feature bricks and rounded porch were very popular amongst the newly moneyed middle-class who could finally afford to buy their own homes. Comfortable and cottage like in the Metroland style of interwar Art Deco architecture so popular in Australia during the late 1920s, this house and many others like it represented stability and respectability, without being showy.
This house has a beautiful garden with azaleas and a topiaried camelia covered in buds about to burst forth.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This small residence was built on the lowest section of Travancore, which was the last portion of the suburb to be subdivided on what was formerly the mansion's old dairy.
Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind.
www.scribd.com/fullscreen/46541840?access_key=key-2gcrwop...
Geometric patterned stained glass mosaic mirror. Materials: 10"x10" mirror base, stained glass, millefiori
Clear class cup with engraved geometric design. Made in Colonia Claudia Ara Agrippinensium (Koln). Roman Imperial, 2nd Century AD. Roman-Germanic Museum (Römisch-Germanisches Museum), Köln, Germany. Copyright 2016, James A. Glazier.
These stylish Metroland maisonettes, (two houses joined by a shared central wall), can be found in a quite street in the Melbourne suburb of Travancore.
These cottage style maisonettes with their low slung tile roof, white coloured stucco work with picked out brown and red feature bricks in geometric patterns and an arch of feature bricks dividing the facade in two follow the less cluttered lines of Metroland Art Deco architecture that came out of England after the war. To give them their own individual style, one has a bay window, whilst the other features a planter box beneath its drawing room window.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. These two small, co-joined residences were built near the lowest section of Travancore, which was the last portion of the suburb to be subdivided on what was formerly the mansion's old dairy. Their position and size would suggest they would have been acquired by an aspiring middle-class families or young newlywed couples who wanted modernity to ease their lives, as they would not have been in the position to acquire the assistance of outside help like some of their neighbours could.