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Dinamarca - Copenhague - Vistas desde la Rundetaarn (Torre Redonda)
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www.visitcopenhagen.com/copenhagen/round-tower-gdk410741
ENGLISH:
The Rundetaarn, or Rundetårn (Round Tower in English), is a 17th-century tower located in central Copenhagen, Denmark. One of the many architectural projects of Christian IV, it was built as an astronomical observatory. It is most noted for its equestrian staircase, a 7.5-turn helical corridor leading to the top, and for the expansive views it affords over Copenhagen.
The tower is part of the Trinitatis Complex which also provided the scholars of the time with a university chapel, the Trinitatis Church, and an academic library which was the first purpose-built facilities of the Copenhagen University Library which had been founded in 1482.
Today the Round Tower serves as an observation tower for expansive views of Copenhagen, a public astronomical observatory and a historical monument. At the same time the Library Hall, located above the church and only accessible along the tower's ramp, is an active cultural venue with both exhibitions and a busy concert schedule.
The Round Tower is a cylindrical tower built in masonry of alternating yellow and red bricks, the colours of the Oldenburgs. The bricks used were manufactured in the Netherlands and are of a hard-burned, slender type known as muffer or mopper. On the rear side, it is attached to the Trinitatis Church, but it has never served as a church tower.
Steenwinckel — whose name is otherwise synonymous with Dutch Renaissance architecture in Denmark — with the Trinitatis Complex has left his signature style. Unlike his other buildings with their lavish ornamentations and extravagant spires, the complex is built to a focused and restrained design. Hans van Steenwinckel must have been up on the situation in Holland, cogniziant that the style which he had once learned from Hendrick de Keyser had been altogether abandoned.
The architects now setting the agenda in the Netherlands, masters such as Jacob van Kampen (Amsterdam City Hall), Pieter Post (Mauritshuis in the Hague) and Philip Vingboons, now favoured a style characterized by sobriety and restraint. It is now known as Dutch Baroque or sometimes Dutch Classicism. Its proponents often relied on the theoretical works such as those of Palladio and of Jacopo Barozzi da Vignola. Steenwinckel may have paid a visit to his native Netherlands prior to his change in style but it will have been too early for him to have seen any of the period's buildings realized.
Instead of stairs, a 7.5-turn spiral ramp forms the only access way to the towertop observatory as well as the Library Hall and the Bell-Ringer's Loft, both located above the church. The ramp turns 7.5 times around the hollow masonry core of the tower before reaching the observation deck and observatory at the top, on the way also affording access to the Library Hall as well as the Ringer's Loft. This design was chosen to allow a horse and carriage to reach the library, moving books in and out of the library as well as transporting heavy and sensitive instruments to the observatory.
The winding corridor has a length of 210 m, climbing 3.74 m per turn. Along the outer wall the corridor has a length of 257.5 m and a grade of 10%, while along the wall of the inner core the corridor is only 85.5 m long but has a grade of 33%.
The observation deck is located 34.8 m above street level. Along the edge of the platform runs a wrought-iron lattice made in 1643 by Kaspar Fincke, Court Artist in metalwork. In the latticework, Christian IV's monogram and the letters RFP are seen, the letters representing the King's motto: Regna Firmat Pietas – Piety strengthens the Realms.
The observatory is a small domed building, built on the roof of the tower. Built in 1929, the current observatory is 7 m high and has a diameter of 6 m. Access is by a narrow winding stone staircase from the observation deck.
On the upper part of the façade of the tower, there is a gilded rebus inscription. Christian IV's draft of it, written in his own hand writing, is kept at the Danish National Archives. The rebus includes the four Hebrew consonants of the Tetragrammaton. The rebus can be interpreted in the following way: Lead God, the right teaching and justice into the heart of the crowned King Christian IV, 1642.
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ESPAÑOL:
La Rundetårn (en español: Torre Redonda) es una torre del siglo XVII ubicada en el centro de Copenhague, Dinamarca. Siendo uno de los numerosos proyectos arquitectónicos del rey Cristián IV, fue construida como observatorio astronómico. Es conocida por su pasillo helicoidal que recorre 7 vueltas y media antes de llegar a la parte más alta y por las amplias vistas panorámicas de la ciudad de Copenhague que ofrece.
La torre forma parte del Trinitatis Complex, que también estaba compuesto por una capilla universitaria, la Iglesia Trinitatis y una biblioteca universitaria, que fueron las primeras instalaciones construidas específicamente por la Biblioteca de la Universidad de Copenhague, fundada en 1482.
Actualmente, la Torre Redonda tiene la función de mirador, observatorio astronómico público y monumento histórico. Asimismo, en la Sala de la Biblioteca, que se encuentra por encima de la iglesia y a la cual solo se puede acceder a través de la rampa de la torre, se suelen exhibir exposiciones y celebrar conciertos.
Excerpt from www.gardinermuseum.on.ca/event/linda-rotua-sormin-uncerta...:
Linda Rotua Sormin: Uncertain Ground is the culmination of over 20 years of remarkable exploration and innovation, bringing together clay, sculpture, video, sound, hand-cut watercolour painting, and digital fabrication in a multi-sensory environment that asks how life in the modern, cosmopolitan city can coexist with memories and experiences of our ancestral traditions.
Raised in Canada and Thailand, artist Linda Rotua Sormin has emerged as a leading voice in sculpture with her fearless, monumental structures. Continually pushing clay beyond its limits, Sormin’s web-like forms burst through the boundaries of the medium, literally breaking apart and re-convening in new forms. Colonial artifacts, everyday kitsch, and fragments from the artist’s studio floor dangle and nestle within the latticework.
In her first solo museum exhibition and largest project to date, Sormin delves into her lineage among the Batak people of Sumatra in the Indonesian archipelago, exploring how images and ideas of her ancestors have, sometimes unwittingly, infused her artistic practice. She studied traditional Batak divination books, available to her only in European museum collections, with access strictly controlled, as well as the script and spoken language of her ancestors. Building on her research, Sormin weaves a rich family history of shamanic and other spiritual practices fragmented by colonialism, Christianization, and diaspora.
The exhibition unfolds on three levels: a central raised platform evokes a volcanic lake with an underworld of mythical beasts and coded divination texts; a tangle of precarious ceramic sculptures suggests an earthly middle ground inhabited by humans; and a suspended projection screen references a celestial realm of spirits and birds. The result is an environment that feels alive and in motion, offering audiences an encounter that is both visceral and contemplative.
Built of red and pink sandstone in 1799 for Maharaja Sawai Pratap Singh. The Palace has 953 small windows called Jharokhas decorated with intricate latticework. The original intent of the lattice design was to allow royal ladies to observe everyday life and festivals celebrated in the street below without being seen, since they had to obey the strict rules of "purdah", which forbade them from appearing in public without face coverings.
Picture taken in 2002 on a trip to India.
Before I either continue uploading Oxford shots or more likely start uploading more shots from this years Photo24 event first I've a few alternative versions of previously uploaded images to upload.
I've uploaded a tinted, softer version of this Tate Modern shot before but this version is B&W and I've further enhanced textures of concrete and timber using a Topaz Adjust Clarity filter.
Click here to see more shots of Herzog & de Meuron buildings : www.flickr.com/photos/darrellg/albums/72157622982082489
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
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© D.Godliman
Jaipur capitale del Rajasthan - la città rosa
Jaipur capital of Rajasthan - the pink city
il “Palazzo dei Venti” chiamato anche Hawa Mahal in lingua Hindù. Costruito nel 1799 dal Maharaja Sawai Pratap Singh, e realizzato in arenaria rossa e rosa a forma della corona del dio indiano Krishna è collocato accanto a quello che era l’harem permettendo così alle concubine di poter osservare cosa succedeva in strada senza essere viste.
Il palazzo si sviluppa su cinque piani e la facciata principale è costituita da 950 finestre.
Hawa Mahal - Palace of Winds - Jaipur - Rajasthan - India
The structure was built in 1799 by Maharaja Sawai Pratap Singh designed by Lal Chand Ustad in the form of the crown of Krishna, the Hindu god. Its unique five-storey exterior is akin to the honeycomb of a beehive with its 953 small windows called jharokhas decorated with intricate latticework.
The original intention of the lattice was to allow royal ladies to observe everyday life in the street below without being seen.
The lattice also allows cool air from the Venturi effect (doctor breeze) through the intricate pattern, air conditioning the whole area during the high temperatures in summers
This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.
On April 27, 2021 I passed by this place--and discovered it had been demolished. Gone.
(Five images constitute the photo set on this structure--all photos taken on a very foggy morning and at some distance from the house itself) The unoccupied Cleaton House, built circa 1895, is at Vultare, in Northampton County, North Carolina; Vultare is a named crossroad of North Carolina state route 46 and Oak Grove Church Road. It's a 3-bay weatherboarded structure, typical of the times, with an added 2-tier porch showing a touch of Classic Revival style. It's an I-style house at its core with early 20th century additions of the porch and a rear addition. The roof is metal, a steeply pitched side gable roof with partial gable returns. The upper level of the porch has a balustrade of square railings and is accented by the four piers with lattice-work pattern. The bottom level has no baluster. The front facade is symmetrical with the wood, single-leafed door centrally placed; paneled sidelights with four panes flank the entrance. Narrow cornerboards are evident at the edges of the front facade. Two wooden posts are at the beginning of the walk to the front porch, where the walk joins the lawn. The first owner was Robert Elroy Cleaton, originally from Brunswick County, Virginia, a few miles north of this structure. The house is not eligible for inclusion on the National Register of Historic Places. It fails to meet various criteria: the house "is not known to be associated with any important historical event or trend in Northampton County or rural North Carolina as a whole"; in addition the architecture "does not represent the work of a master nor possesses high artistic values, nor does it represent a significant and distinguishable entity whose components may be, singly, undistinguished."
My major source of information is a 2017 publication of the State Historic Preservation Office (of North Carolina), "Historic Architectural Eligibility Evaluation" relating to widening and improving a part of NC state route 46. It is located online as a pdf file, files.nc.gov/ncdcr/historic-preservation-office/PDFs/ER%2... (pages 190-202).
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
detail of facade Hawa Mahal - Palace of Winds - Jaipur - Rajasthan - India
il “Palazzo dei Venti” chiamato anche Hawa Mahal in lingua Hindù. Costruito nel 1799 dal Maharaja Sawai Pratap Singh, e realizzato in arenaria rossa e rosa a forma della corona del dio indiano Krishna è collocato accanto a quello che era l’harem permettendo così alle concubine di poter osservare cosa succedeva in strada senza essere viste.
Il palazzo si sviluppa su cinque piani e la facciata principale è costituita da 950 finestre.
The structure was built in 1799 by Maharaja Sawai Pratap Singh designed by Lal Chand Ustad in the form of the crown of Krishna, the Hindu god. Its unique five-storey exterior is akin to the honeycomb of a beehive with its 953 small windows called jharokhas decorated with intricate latticework.
The original intention of the lattice was to allow royal ladies to observe everyday life in the street below without being seen.
The lattice also allows cool air from the Venturi effect (doctor breeze) through the intricate pattern, air conditioning the whole area during the high temperatures in summers
Ode To Enchanted Light
by Pablo Neruda
Under the trees light
has dropped from the top of the sky,
light
like a green
latticework of branches,
shining
on every leaf,
drifting down like clean
white sand.
A cicada sends
its sawing song
high into the empty air.
The world is
a glass overflowing
with water.
Sometimes my foreground becomes my background. Sometimes my background becomes my foreground. Consciousness is a a terrible bear about establishing borders or boundaries on anything. But I do think there is a difference between a border and a boundary. A border is a space where something gradually becomes something else. A boundary is where something truly stops. You can wander around a border (at your own risk). If you are near a boundary, you can still wander around, but you are much more likely to be shot by whatever guard is watching it.
www.lonelyplanet.com/tunisia/central-tunisia/kairouan/sig...
This 18th-century residence of the former beys or pashas of Kairouan called the Maison du Gouverneur, signposted as 'Tapis-Sabra', is an exquisitely restored medina house and an extravagant counterpoint to the austerity of the Aghlabids. The interior is a sumptuous combination of cedar and teak, marble latticework, plaster moulding and elegant tiled arches adorning the entrance hall, harem and reception hall where the governor received official guests and held meetings.
The house doubles, of course, as a carpet shop; after watching a woman demonstrate the painstaking art of carpet making (women make the carpets, men sell them), you'll be expected to view the carpets. If you only experience the carpet ritual once in Kairouan, make it here.
Crowds gather as night falls on the famous Souq Al-Alawi in Jeddah's beautiful 'Al Balad' old town. The handsome restorned building with the green-painted shuttering is the Nasseef House.
The Nasseef House is a stunning example of traditional Hijazi architecture, built in the mid-19th century around 1872 by Sheikh Omar Nasseef, a prominent merchant and member of a well-respected Jeddah family. This grand, multi-story residence was constructed using coral stone from the Red Sea and timber imported from East Africa, a hallmark of the region’s building style at the time. What makes it stand out is its sheer size—boasting over 106 rooms—and its intricate design, including beautifully carved wooden balconies and rawasheen (ornate latticework screens) that allowed for ventilation and privacy while keeping the interior cool.
The house wasn’t just a family home; it was a symbol of status and a hub of activity. It served as a gathering place for merchants, scholars, and even royalty. King Abdulaziz, the founder of modern Saudi Arabia, is said to have stayed here in 1925 during his campaign to unify the kingdom, marking its historical significance. One of its most famous features is the massive neem tree that once grew through the center of the house, with its trunk piercing the floors—a natural marvel that became a local legend (though the tree is no longer standing today).
Over the years, Nasseef House fell into disrepair, but it was meticulously restored in the early 2000s by the Saudi government as part of efforts to preserve Al-Balad’s heritage. Today, it functions as a museum and cultural center, offering a glimpse into Jeddah’s past with exhibits on the city’s history, traditional furnishings, and artifacts.
A ten-storey tower, 65 metres high tower, built above the oil tanks of the former power station switch house. The new building opened to the public on 17 June 2016.
The design, by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities.
In May 2017, the Switch House was formally renamed the Blavatnik Building, after Anglo-Ukrainian billionaire Sir Leonard Blavatnik, who contributed a "substantial" amount of the £260m cost of the extension.
Sometime it feels as we view the world through a latticework of our own experience and biases.
Unless we force ourselves to look in the blind spots, we will not see what other people see, and may never see the full picture.
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Mongolia is an amazing country and as soon as you get out of Ulaanbaatar you are in the middle of nowhere, where you can use only dust roads with no signs and no idea where you might be heading. This was our first stop and my first Mongolian Hotel outside Ulaanbaatar. I got up very early in the morning to capture this beautiful scene during sunrise.
These structures are commonly called the ger or yurt. It is one of the two basic forms of portable housing that have been used by the nomads of Tibet, Mongolia and China since the time of Marco Polo. It remains today as the primary form of portable housing in Mongolia and Tibet. The ger of the thirteenth century nomad was a circular structure measuring twelve to fifteen feet in diameter. Its walls were a five foot tall latticework, called a khana, made of willow branches that were lashed together with yak or horsehair twine. Willow poles were lashed to the top of the wall section and were brought together at the top to form a conical shaped roof. A single upright pole supported the peak of the roof.
Gers were covered with several panels of felt made of either goat or camel hair. The gers of thirteenth century Tibet were structurally the same as their Mongolian counterparts, and were covered with felts made from yak hair rather than goat. The number of layers of felt varied, depending on the season. Felts were soaked in either tallow or milk to repel moisture. The gers of wealthier nomads were much larger, and were coated with lime or white clay mixed with powdered bone, again white being a symbol of status. Those who were not as wealthy painted decorations around the smoke hole of their natural brown-black tents. The panels were then secured to the framework of the ger with ropes. The doorway, which always faced south, was covered with a flap of felt, which was either painted or appliquéd with multi-colored designs of birds, animals, vines and trees.
Camera Model: Canon EOS 350D DIGITAL; Lens: 18.00 - 200.00 mm; Focal length: 18.00 mm; Aperture: 13; Exposure time: 1/500 s; ISO: 200
All rights reserved - Copyright © Lucie Debelkova - www.luciedebelkova.com
All images are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed, written permission of the photographer.
The Yurt & Door is well anchored. Ropes are used to hold the door against strong winds.
A yurt (from the Turkic languages) or ger (Mongolian) is a portable, round tent covered and insulated with skins or felt and traditionally used as a dwelling by several distinct nomadic groups in the steppes and mountains of Inner Asia. The structure consists of a flexible angled assembly or latticework of wood or bamboo for walls, a door frame, ribs (poles, rafters), and a wheel (crown, compression ring) possibly steam-bent as a roof. The roof structure is sometimes self-supporting, but large yurts may have interior posts or columns supporting the crown. The top of the wall of self-supporting yurts is prevented from spreading by means of a tension band which opposes the force of the roof ribs. Yurts take between 30 minutes and three hours to set up or take down and are generally used by between five and 15 people. Nomadic farming with yurts as housing has been the primary way of life in Central Asia, particularly Mongolia, for thousands of years.
Modern yurts may be permanently built on a wooden or concrete platform; they may use modern materials such as metal framing, plastics, plexiglass dome, or radiant insulation.
***Built by a family in Mongolia who have a long tradition in yurt building, the yurts have been adapted to add both comfort and style to the Icelandic experience.
While walking along Semilin Drive between East 6th & 7th Avenue in Vancouver the blue watering can was an attention grabber.
Title: The Astor Chinese Garden Court
Period: Ming dynasty (1368–1644)
Date: 17th century style
Culture: China
Medium: Taihu rocks, granite terrace, ceramic tile flooring, roof tiles, and door frames, various woods (nan wood columns, pine beams, gingko latticework), brass fittings
Classification: Architecture
Façade of the east wing of Het Loo Palace in the outskirts of the city of Apeldoorn, Gelderland, Netherlands
Some background information:
Het Loo Palace (in English: "The Woods Palace") is a palace in Apeldoorn, Netherlands, built by the noble House of Orange-Nassau. The symmetrical Dutch Baroque building was designed by Jacob Roman and Johan van Swieten and was built between 1684 and 1686 for the stadtholder-king William III and his wife Mary II of England. The garden was designed by Claude Desgotz.
After the elder House of Orange-Nassau had become extinct with the death of William III of England in 1702, he left his estates in the Netherlands to his cousin Johan Willem Friso of the House of Nassau-Dietz in his testament. However, the King of Prussia claimed them, as he also descended from the Oranges, and the Houses of Orange and of Prussia had, a few generations before, made an inheritance contract. Therefore, most of the properties, including Het Loo, were in fact taken over by the Hohenzollerns, who never lived there. Johan Willem Friso's son, William IV, Prince of Orange, finally received Het Loo Palace, as well as Huis ten Bosch palace in The Hague, from Frederick William I of Prussia in 1732.
The palace then remained a private residence of the younger House of Orange-Nassau until the death of Queen Wilhelmina in 1962. In 1960 Queen Wilhelmina had declared that when she died the palace would go to the State. She did, however, request that it would be returned to her family if the Dutch were to abolish the monarchy. The palace became property of the Dutch state in 1962 when Wilhelmina died at Het Loo Palace. Her daughter, Queen Juliana, never lived there, but her younger daughter, Princess Margriet, lived in the right wing until 1975.
The building was renovated between 1976 and 1982. Since 1984, the palace is a state museum open for the general public, showing interiors with original furniture, objects and paintings of the House of Orange-Nassau. It also houses a library devoted to the House of Orange-Nassau and the Museum van de Kanselarij der Nederlandse Orden (in English: "Museum of the Netherlands Orders of Knighthood's Chancellery") with books and other material concerning decorations and medals.
The Dutch Baroque architecture of Het Loo takes pains to minimize the grand stretch of its construction, so emphatic at Versailles, and present itself as just a fine gentleman's residence. Het Loo is not a palace but, as the title of its engraved portrait states, a "Lusthof" (a retreat, or "pleasure house"). Nevertheless, it is situated entre cour et jardin (in English: "between court and garden") as Versailles and its imitators, and even as fine Parisian private houses are. The dry paved and gravelled court, lightly screened from the road by a wrought-iron grill, is domesticated by a traditional plat of box-bordered green, the homey touch of a cross in a circle you'd find in a bourgeois garden. The volumes of the palace are rhythmically broken in their massing. They work down symmetrically, expressing the subordinate roles of their use and occupants, and the final outbuildings in Marot's plan extend along the public thoroughfare, like a well-made and delightfully regular street.
The private "Great Garden" is situated in the back. This Dutch Baroque garden, often mislabeled the "Versailles of Holland", actually serves to show more differences than similarities. It is still within the general Baroque formula established by André Le Nôtre: perfect symmetry, axial layout with radiating gravel walks, parterres with fountains, basins and statues.
The garden as it appears in the engraving was designed by Le Nôtre's nephew, Claude Desgotz. Throughout his military and diplomatic career, William of Orange was the continental antagonist of Louis XIV, the commander of the forces opposed to those of absolute power and Roman Catholicism. André Le Nôtre's main axis at Versailles, continued by the canal, runs up to the horizon. Daniel Marot and Desgotz's Het Loo garden does not dominate the landscape as Louis' German imitators do, though in his idealized plan, Desgotz extends the axis.
The main garden, with conservative rectangular beds instead of more elaborately shaped ones, is an enclosed space surrounded by raised walks, as a Renaissance garden might be, tucked into the woods for private enjoyment, the garden not of a king but of a stadtholder. At its far end a shaded crosswalk of trees disguised the central vista. The orange trees set out in wooden boxes and wintered in an Orangery, which were a feature of all gardens, did double duty for the House of Orange-Nassau.
Outside the garden there are a few straight scenic avenues, for following the hunt in a carriage, or purely for the vista afforded by an avenue. Few of the "green rooms" cut into the woodlands in imitation of the cabinets de verdure of Versailles that are shown in the engraving actually got executed at Het Loo.
The patron of the Sun King's garden was Apollo. Peter the Great would opt for Samson, springing the jaws of Sweden's heraldic lion. But William opted for Hercules. In the 18th century, William III’s baroque garden as seen in the engraving was replaced by a landscape park in the English taste. The lost gardens of Het Loo were fully restored beginning in 1970 and completed in time to celebrate the building's 1984 tercentenary. Het Loo's new brickwork, latticework and ornaments are as raw as they must have been in 1684 and will mellow with time.
Today, Het Loo Palace attracts more than 400,000 visitors each year, making it the 8th most visited museum in the Netherlands. The building and its gardens are a rijksmonument and are among the Top 100 Dutch heritage sites.
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Just behind Tate Modern I found this colourful background for a candid shot of a passerby.
Click here to see more of my street photography : www.flickr.com/photos/darrellg/albums/72157629075346606
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
© D.Godliman
Snaking over the pointwork and on to the Skegness road are 20160/113 with the 09.22 Derby - Skegness. A Cravens DMU stands by the lovely surviving latticework junction semaphore peg which would shortly disappear!
All images on this site are exclusive property and may not be copied, downloaded, reproduced, transmitted, manipulated or used in any way without expressed written permission of the photographer. All rights reserved – Copyright Paul Townsend
Granby Theatre, 421 Granby Street, Norfolk, Virginia. The Granby Theatre was constructed 100 years ago under the direction of an Italian immigrant, Mr. Feroni. Originally the theater was named The Virginian and was built for small plays, one act operas, and vaudeville shows. Granby Street was known as “Theater Row” in those days, and each theater would sell out nightly to thousands of sharply dressed visitors.
The theater’s design included cat walks above the ceiling which provided access above the ceiling to hang props, special effects, and acrobatic equipment for live performers. and those features are still in use today. The Granby Theater was one the first buildings in the south to have air conditioning and fire suppression systems. As time went by, silent films became popular, and an organist would play seated behind the latticework of gold walls to the right of the stage. “Talkies,” or modern day movies, were shown some time later- including Saturday morning matinees for the kids.
The theater eventually closed in 1986, and would not reopen its doors again to the public for nearly twenty years. When it came time to restore the theater to its former glory, the development team relied on a number of professionals. Both state and federal consultants were commissioned in conjunction with a certified historic artist to beautifully restore the theater. The facade of the theater didn’t have a marquee until “silent movies” went mainstream. Prior to motion pictures, the front of the building was more open and included Roman columns and a ticket booth. The present marquee is restored, and dates from the 1930s.
A shoji is a sliding door with wooden latticework which is built into a rectangular wooden frame.
Shoji enable soft light to filter through the paper and create a calm atmosphere inside rooms.
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There are several stairs in the Herzog & de Meuron designed Tate Modern, each with their own character. This massively wide spiral in the Switch House extension is probably my favourite as it's difficult to take a bad shot of it.
Click here to see more of my shots of H&dM projects : www.flickr.com/photos/darrellg/albums/72157622982082489
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
© D.Godliman
Watched by a fellow enthusiast, DBS Class 66, 66059, heads through Barnt Grenn with 6V52 0630 Bescot Down Side to Llanwern Exchange Sdgs
Formerly the Prince of Wales Museum of Western India, this Indo-Saracenic structure in Fort was designed by George Wittet and is easily among the most beautiful buildings in the entire city. Step inside the impressive building and you'll find a host of treasures: pottery harking back to the Indus valley, handcrafted Buddhist sculptures from the Maurya Empire, fine latticework on Mughal-era jewellery boxes and more.
The distinctive stubby latticework headgear at Hatfield Colliery in March 2011. At the time the colliery was producing lots of coal.
Quality prints, greeting cards, puzzles and many lovely products can be purchased at >> kaye-menner.pixels.com/featured/murrayville-hotel-victori...
My photography of the lovely old Murrayville Hotel as we stopped for a rest on our drive through Victoria, Australia. Built in the 1920s and still operating.
Murrayville is a tiny rural service town on the Mallee Highway near the South Australian border. It is a tiny settlement in the heart of Victoria's western desert national parks. Its primary tourist appeal is that it is surrounded by National Parks with, to the north, the Murray Sunset National Park; to the east is Wyperfeld National Park; and to the south is the Big Desert Wilderness Park.
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A young woman in a tattered dress rushes down a fog-shrouded street, lit by a flickering gas lamp, amidst heavy stone facades and iron latticework, her fear reflected in her eyes.
Created by Diney on Apr 26, 2025 using the Dreamshaper XL Lightning AI image generator model.Nightcafe
Excerpt from ohsplaques.online/C06E1905-317B-46CF-B529-414400987617.htm:
241 Trafalgar Road - Potter's Folly
John Potter never lived here, despite the traditional name for the home.
John Potter was born in 1811 in Nova Scotia and arrived in Oakville as a young man to work on construction of the harbour piers. He settled here with his wife Elizabeth and their two daughters, Mary and Jerusha.
He became a shipwright and house builder and was a tenant on the south part of this property, which was purchased by Charles Bigger from William Chisholm in 1839. Potter was responsible for building the Congregationalist Church in 1842 which stood at the corner of Wilson and John Streets across the creek. Potter was a temperance man and was instrumental in building the Temperance Hall. He was also a member of the Mechanics Institute and was on the first town council in 1857.
Potter built several schooners at his yard on Sixteen Mile Creek, including the "Smith and Post," was built for Thompson Smith , the 100-ton schooner "Kate," built for George Chisholm and the 175-ton "Dauntless," built for Captain Hiram Williams. However, he got into financial difficulties and sold the house in 1859. It was sold again in 1861 and 1869. 19 days later the original house burned to the ground.
Construction on this house started soon after and by 1874 it was rented to the Presbyterians for use as a manse. The Potters never lived in the house- he lived with is daughter Jerusha and her husband Dr. Lusk at 205 Trafalgar Road - but it has always been known as Potter's Folly. Potter died in 1908 in his 98th year.
The Presbyterian Congregation bought the house in 1881 and used it as a manse until 1927 when it was sold. The last Presbyterian minister to live in it was Dr. Munro whose grandson owned Munro's Books in Victoria. The grandson's ex-wife is author Alice Munro.
Two of the Munro children, Arthur and Hugh, served in the First World War. The Oakville Society has a collection of over 200 letters written by the boys home to their family and from their mother to them. These letters can be viewed and read on line at www.oakvillehistory.org/munro-letters.html
The Presbyterian Church sold the home in 1927 to William Robert Adamson and his wife Ethel. William was very involved in Knox Presbyterian Church but died two years after moving to Oakville. In 1939 Ethel became the first woman elected to the Board of Knox Church and she served on the board for eight years. There is a stained glass window in their honour in the church.
It is the only Italianate Villa in Oakville. The balconies on the tower have been removed and then replaced and the arcade verandah with fine treillage (latticework) has been replaced by a closed-in porch. Originally there was also a porch on the south side. The windows maintain their original massive dressings, pediments and cornices held in place by oversized brackets. The roof has an extensive overhang with large brackets.
In 1978 the previous owner had it moved 65 feet forward on to the front two of its four original lots.
Der verschlossene Zugang zu einem unterirdischen Rüstungswerk von 1944.
Was heute idyllisch aussehen mag, war zwischen 1944 und 1945 das Tor zur Hölle.
Zum Schutz vor Bombenangriffen wurde Anfang 1944 von der Luftwaffe und der SS beschlossen, das BMW-Flugzeugmotorenwerk von München in ein neu zu schaffendes
unterirdisches Rüstungswerk (Tarnname Esche II) ca. 35 km östlich von Nürnberg zu verlegen.
Der vorgesehene Berg bei Happurg verfügt über eine auf halber Höhe horizontal eingebettete bis zu 50m mächtige Sandsteinschicht, dem sogenannten Dogger.
Hier sollte ein gitternetzartiges und im Endausbau 14km langes Stollensystem entstehen.
Unter Anleitung von deutschen Bergleuten und bewacht durch die SS mußten KZ-Häftlinge aus dem Konzentrationslager Flossenbürg Fahr- u. Produktionsstollen mit einem Querschnitt von bis zu 7m x 6m aus dem Berg brechen.
Für die anfangs eingesetzten 2000 KZ-Häftlinge wurde in der 4km entfernten Stadt Hersbruck ein Außenlager eingerichtet, jeden Tag mußten die Häftlinge die Strecke zur Baustelle und zurück zu Fuß tätigen.
Durch die mangelhafte Ernährung, fehlender Hygiene, der kräftezehrenden Arbeit im Berg und der Schikanen durch die SS breiteten sich u.a. Typhus und andere Epidemien unter den Häftlingen aus, im Herbst/Winter 1944/45 starben täglich 35 Lagerinsassen, im März 1945 gab es 741 Tote durch Flecktyphus und der Ruhr.
Im Februar 1945 kamen weitere 2135 Häftlinge aus dem KZ Groß-Rosen in Hersbruck an, das KZ-Aussenlager hatte nun eine Höchstbelegung von etwa 6000 Häftlingen.
Im Archiv des KZ Flossenbürg sind die Namen von 8094 Männern vermerkt, die als Arbeitssklaven das KZ Hersbruck durchleiden mußten, bei 2668 Namen ist der Tod angegeben.
Bis zum Kriegsende im April 1945 waren knapp 4km Stollen aufgefahren, zu einer Produktion kam es nie.
Heute sind die Stollen verschlossen, nur ein Teil war betoniert und es bestand hohe Einsturzgefahr.
An einem der Zugangsstollen wurde eine kleine Gedenkstätte errichtet.
----------------------------
The locked access to an underground armaments factory from 1944.
What looks idyllic today was the gateway to hell between 1944 and 1945.
To protect against bomb attacks was decided in early 1944 by the Air Force and the SS, the BMW aircraft engine plant of Munich in a new to create
underground armament plant (Tarnname Esche II) about 35 km east of Nuremberg to relocate.
The proposed mountain near Happurg has a half-height horizontally embedded up to 50m thick sandstone layer, the so-called Dogger.
Here a an latticework art and in the end building 14km long tunnel system should develop.
Under the guidance of German miners and guarded by the SS, concentration camp inmates from the Flossenbürg driving- and production tunnels with a cross section of up to 7m x 6m from the mountain break.
For the 2,000 concentration camp inmates initially deployed, a satellite camp was set up in the 4km distant town of Hersbruck, and every day the prisoners had to make the route to the construction site and back on foot.
Due to the lack of nutrition, lack of hygiene, the energy-consuming work in the mountain and the harassment by the SS were spreading u.a. Typhoid fever and other epidemics among the prisoners, in the fall / winter of 1944/45 35 camp inmates died daily, in March 1945 there were 741 dead by typhus and the Ruhr.
In February 1945, another 2,135 prisoners from Gross-Rosen Concentration Camp arrived in Hersbruck, and the concentration camp now had a maximum occupancy of around 6,000 inmates.
In the archive of the concentration camp Flossenbürg the names of 8094 men are noted, which had to endure as working slaves the concentration camp Hersbruck, with 2668 names the death specified.
By the end of the war in April 1945, almost 4km of tunnels had been driven up to a production never came.
Today, the tunnels are closed, only a part was concreted and there was a high risk of collapse.
A small memorial was erected on one of the access galleries.
Dokumentationsstätte KZ Hersbruck e.V.
La plaza de San Fernando, también conocida como plaza de Arriba, es el corazón de la vida cotidiana de Carmona y así lo ha sido desde la antigüedad.
La plaza de arriba se sitúa donde aproximadamente se produciría la intersección del cardo máximo y el decumano y en el mismo lugar donde se encontraba el foro romano.
Los edificios, de diferentes estilos y épocas que conforman la plaza, le dieron su aspecto rectangular cerrado. Fue a partir de 1924 tras la ejecución de un proyecto de restauración cuando se modificó, adquiriendo la apariencia circular que mantiene hoy.
Las casas que tienen fachada a la plaza se desarrollan hasta una tercera planta y disponen de muchos balcones hacia la misma. Estas dos características, ajenas a la arquitectura doméstica tradicional de Carmona, se explican por el uso de esta plaza como escenario de espectáculos públicos, entre las que podemos destacar las corridas de toros.
La farola de hierro forjado, que se encuentra en el centro de la plaza, procede de la Exposición Iberoamericana de Sevilla de 1929.
En el extremo Noroeste destaca la Casa de la Antigua Audiencia, levantada en 1588, que albergó posteriormente el Cabildo de la ciudad y, actualmente, unas dependencias municipales. La fachada es de gran sencillez, característica del manierismo, con una portada adintelada entre pilastras jónicas, en cuyo dintel hay una lápida con texto alusivo a su construcción. En la parte superior un balcón corrido con cinco arcadas de ladrillo sobre columnas de mármol blanco y por encima de éste, el encalado mirador del monasterio de Madre de Dios, con otras cinco ventanas, tras cuyas celosías las religiosas podían observar sin ser vistas.
En la entrada del edificio hay un azulejo conmemorativo de la visita en 1590, de Miguel de Cervantes, como comisario de la Armada Invencible a esta ciudad y a esta antigua Casa de la Villa.
En el flanco Este, en la esquina de la calle Prim destaca el edificio del s. XVI, conocido como “la Casa Mudéjar” decorado con azulejos de cuenca en los pisos altos, ventanas gemeladas de medio punto y otros elementos arquitectónicos renacentistas. En la planta superior, el mirador sigue la línea del de Madre de Dios.
En otra de las esquinas de la plaza, en un edificio del S. XVII, se encuentra el actual ayuntamiento.
turismo.carmona.org/plaza-de-san-fernando/
The San Fernando square, also known as the “plaza de Arriba” (literally “the square up there”), is at the heart of Carmona´s daily life, a role it has played since ancient times.
The “plaza de arriba” is located approximately where the intersection of the Cardo Maximus and the Decumano was, and where the Roman Forum was located.
The buildings around the square, of different styles and dating to different periods, used to give the square a rectangular shape. It was only after 1924, when the square was restored, that its shape was modified, acquiring the circular appearance that it has nowadays.
The houses which have façades giving onto the square often have a third floor with many balconies overlooking the plaza. These two characteristics, so alien to the traditional domestic architecture of Carmona, can be explained by the use of this square as a stage for public performances, among which were bull fights.
The forged iron lamppost in the middle of the square, came from the Ibero-American Exposition, held in Seville in 1929.
On the northwest corner the Casa de la Antigua Audiencia, stands out, built in 1588, and which later housed the city council and is now used as municipal offices. The façade is of great simplicity, a characteristic of Mannerism, with a linted doorway between ionic pilasters, on whose lintel there is a stone with a text alluding to its construction. At the top there is a balcony with five brick arcades resting on white marble columns, and above this, the whitewashed lookout point of the Madre de Dios convent, with another five windows behind whose latticework the nuns could see out without being seen.
At the entrance of the building there is a commemorative tile dedicated to the visit here by Miguel de Cervantes. In 1590, Cervantes, as commissioner of the Spanish Armada, came to the town and to the old Casa de la Villa in particular.
On the eastern flank of the square, on the corner of Prim street, there is a prominent 16th century building, known as the “Mudejar House”, decorated with Cuenca tiles on the upper floors, twin semi-circular windows and other Renaissance architectural elements. On the top floor, the viewpoint follows the line of the one in the nearby Madre de Dios convent.
The town hall is located on another of the corners of the square, in a building dating to the 17th century.
The Empress Nūr Jahān built I'timād-Ud-Daulah's Tomb, sometimes called the "Baby Tāj", for her father, Mirzā Ghiyās Beg, the Chief Minister of the Emperor Jahāngīr. Located on the left bank of the Yamuna river, the mausoleum is set in a large cruciform garden, criss-crossed by water courses and walkways. The are of the mausoleum itself is about 23 m2 (250 sq ft), and is built on a base that is about 50 m2 (540 sq ft) and about one meter high. On each corner are hexagonal towers, about thirteen meters tall. Small in comparison to many other Mughal-era tombs, it is sometimes described as a jewel box. Its garden layout and use of white marble, pietra dura, inlay designs and latticework presage many elements of the Tāj Mahal.
The walls are white marble from Rajasthan encrusted with semi-precious stone decorations – cornelian, jasper, lapis lazuli, onyx, and topaz in images of cypress trees and wine bottles, or more elaborate decorations like cut fruit or vases containing bouquets. Light penetrates to the interior through delicate jālī screens of intricately carved white marble.
Many of Nūr Jahān's relatives are interred in the mausoleum. The only asymmetrical element of the entire complex are the tombs of her father and mother, which have been set side-by-side, a formation replicated in the Taj Mahal.
Rajasthan - Jaipur - Hawa Mahal - Palace of winds
IND026.F
Nikon F3 / Kodachrome 64
Hawa Mahal (English translation: "Palace of Winds") is a palace in Jaipur, India. It is constructed of red and pink sandstone. The palace sits on the edge of the City Palace, Jaipur, and extends to the zenana, or women's chambers.
The structure was built in 1799 by Maharaja Sawai Pratap Singh. He was so inspired by the unique structure of Khetri Mahal that he built this grand and historical palace. It was designed by Lal Chand Ustad. Its unique five-storey exterior is akin to the honeycomb of a beehive with its 953 small windows called jharokhas decorated with intricate latticework. The original intent of the lattice design was to allow royal ladies to observe everyday life and festivals celebrated in the street below without being seen, since they had to obey the strict rules of "purdah", which forbade them from appearing in public without face coverings.
This architectural feature also allowed cool air from the Venturi effect to pass through, thus making the whole area more pleasant during the high temperatures in summer. Many people see the Hawa Mahal from the street view and think it is the front of the palace, but in reality it is the back of that structure.
In 2006, renovation works on the Mahal were undertaken, after a gap of 50 years, to give a face lift to the monument at an estimated cost of Rs 4568 million. The corporate sector lent a hand to preserve the historical monuments of Jaipur and the Unit Trust of India has adopted Hawa Mahal to maintain it. The palace is an extended part of a huge complex. The stone-carved screens, small casements and arched roofs are some of the features of this popular tourist spot. The monument also has delicately modelled hanging cornices. Like several other monuments of Jaipur, the palace is also constructed using sandstone.
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A previously neglected sq format crop of a vertiginous view inside the Herzog & de Meuron designed Switch House extension to Tate Modern in London.
Click here to see more shots of London Architecture : www.flickr.com/photos/darrellg/albums/72157635041185106
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
© D.Godliman
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A 'flipped' version of an almost abstract photo of the concrete main stair in the Herzog & de Meuron designed Tate Modern Switch House extension.
Click here to see more of my shots of H&dM projects : www.flickr.com/photos/darrellg/albums/72157622982082489
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
© D.Godliman
www.lonelyplanet.com/tunisia/central-tunisia/kairouan/sig...
This 18th-century residence of the former beys or pashas of Kairouan called the Maison du Gouverneur, signposted as 'Tapis-Sabra', is an exquisitely restored medina house and an extravagant counterpoint to the austerity of the Aghlabids. The interior is a sumptuous combination of cedar and teak, marble latticework, plaster moulding and elegant tiled arches adorning the entrance hall, harem and reception hall where the governor received official guests and held meetings.
The house doubles, of course, as a carpet shop; after watching a woman demonstrate the painstaking art of carpet making (women make the carpets, men sell them), you'll be expected to view the carpets. If you only experience the carpet ritual once in Kairouan, make it here.
A couple more #Photo24 shots to come of the recently opened Herzon & de Meuron Switch House extension to the Tate Modern in London......
Click here to see my #Photo24 shots : www.flickr.com/photos/darrellg/albums/72157667520181380
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
Hawa Mahal (Hindi: हवा महल, translation: "Palace of the Winds" or “Palace of the Breeze”), is a palace in Jaipur, India. It was built in 1799 by Maharaja Sawai Pratap Singh, and designed by Lal Chand Ustad in the form of the crown of Krishna, the Hindu god. Its unique five-storey exterior is also akin to the honeycomb of the beehive with its 953 small windows called jharokhas that are decorated with intricate latticework.[1] The original intention of the lattice was to allow royal ladies to observe everyday life in the street below without being seen, since they had to observe strict "purdah" (face cover). Built of red and pink sandstone, the palace is situated on the main thoroughfare in the heart of Jaipur’s business centre. It forms part of the City Palace, and extends to the Zenana or women's chambers, the chambers of the harem. It is particularly striking when viewed early in the morning, lit with the golden light of sunrise.
I must admit when I first visited the Herzog & de Meuron Switch House extenion to Tate Modern I was rather underwhelmed. It's definitely grown on me a lot and every time I visit I find new photos to take, such as this one of a concrete stair.
Click here to see more shots of London Architecture : www.flickr.com/photos/darrellg/albums/72157635041185106
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
My Website : Twitter : Facebook : Instagram : Photocrowd
© D.Godliman
Hawa Mahal - Jaipur, Rajasthan, India.
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Hawa Mahal (Hindi: हवा महल, translation: "Palace of Winds" or “Palace of the Breeze”), is a palace in Jaipur, India. It was built in 1799 by Maharaja Sawai Pratap Singh, and designed by Lal Chand Ustad in the form of the crown of Krishna, the Hindu god. Its unique five-storey exterior is also akin to the honeycomb of the beehive with its 953 small windows called jharokhas that are decorated with intricate latticework.The original intention of the lattice was to allow royal ladies to observe everyday life in the street below without being seen, since they had to observe strict "purdah" (face cover). Besides this, the lattice also provides cool air caused by the Venturi effect (doctor breeze) through the intricate pattern and thereby air conditioning the whole area during the high temperatures in summers.
Built of red and pink sandstone, the palace is situated on the main thoroughfare in the heart of Jaipur’s business centre. It forms part of the City Palace, and extends to the Zenana or women's chambers, the chambers of the harem. It is particularly striking when viewed early in the morning, lit with the golden light of sunrise.
The palace is a five-storey pyramidal shaped monument that rises to a height of 50 feet (15 m) from its high base. The top three floors of the structure have a dimension of one room width while the first and second floors have patios in front of them, on the rear side of the structure. The front elevation, as seen from the street, is like a honeycomb web of a beehive built with small portholes. Each porthole has miniature windows and has carved sandstone grills, finials and domes. It is a veritable mass of semi-octagonal bays, which gives the monument its unique façade. The inner face on the back side of the building consists of need-based chambers built with pillars and corridors with least ornamentation, and reach up to the top floor. The interior of the Mahal has been described as “having rooms of different coloured marbles, relieved by inlaid panels or gilding; while fountains adorn the centre of the courtyard”.
Lal Chand Ustad was the architect of this unique structure who also planned Jaipur city, considered then as one of the best-planned cities in India. Built in red and pink coloured sand stone, in keeping with the décor of the other monuments in the city, its colour is a full testimony to the epithet of “Pink City” given to Jaipur. Its façade depicts 953 niches with intricately carved Jharokhas (some are made of wood) is a stark contrast to the plain looking rear side of the structure. Its cultural and architectural heritage is a true reflection of a fusion of Hindu Rajput architecture and the Islamic Mu pagal maksjghal architecture; the Rajput style is seen in the form of domed canopies, fluted pillars, lotus and floral patterns, and the Islamic style as evident in its stone inlay filigree work and arches (as distinguished from its similarity with the Panch Mahal - the palace of winds - at Fatehpur Sikri).
The entry to the Hawa Mahal from the city palace side is through an imperial door. It opens into a large courtyard, which has double storeyed buildings on three sides, with the Hawa Mahal enclosing it on the east side. An archaeological museum is also housed in this courtyard.
Hawa Mahal was also known as the chef-d'œuvre of Maharaja Jai Singh as it was his favourite resort because of the elegance and built-in interior of the Mahal. The cooling effect in the chambers, provided by the breeze passing through the small windows of the façade, was enhanced by the fountains provided at the centre of each of the chambers.
Source : en.wikipedia.org/wiki/Hawa_Mahal
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A moody monochrome photo of the concrete main stair in the Herzog & de Meuron designed Tate Modern Switch House extension. I've used a Topaz Adjust Clarity filter to enhance the textures of the concrete.
Click here to see more of my shots of H&dM projects : www.flickr.com/photos/darrellg/albums/72157622982082489
From Wikipedia : "A ten storey tower, 65 metres high from ground level, was built above the oil tanks.
The original western half of the Switch House was demolished to make room for the tower and then rebuilt around it with large gallery spaces and access routes between the main building and the new tower on level 1 (ground level) and level 4. The new galleries on level 4 have natural top lighting. A bridge built across the turbine hall on level 4 to provides an upper access route.
The new building opened to the public on 17 June 2016.
The design, again by Herzog & de Meuron, has been controversial. It was originally designed with a glass stepped pyramid, but this was amended to incorporate a sloping façade in brick latticework (to match the original power-station building) despite planning consent to the original design having been previously granted by the supervising authority.
The extension provides 22,492 square metres of additional gross internal area for display and exhibition spaces, performance spaces, education facilities, offices, catering and retail facilities as well as a car parking and a new external public space."
© D.Godliman