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VIDEO, Rocking Christmas Songs - youtu.be/Q5IF6iWf5W4
The VanDusen Garden Festival of Lights is a Christmas event that many nature-lovers have been waiting for to start the holiday season.
One of the guiding principles of the VanDusen Garden has always been to connect people to plants and the natural environment. Year-round, visitors have come here to appreciate and learn about conservation, gardening, plant lives and stories, nutrition, pollination, adopt a tree, birding in the garden and many more.
The VanDusen Garden is also a popular spot for wedding couples getting hitched.
Although there are more than 100 events happening all year, don’t think that during winter the garden would be in hibernation. No, December happens to be the busiest time of the year.
To celebrate Christmas and the Yuletide season, the garden comes alive with more than a million light bulbs illuminating all vegetation and the surrounding enclave. 1.4 million lights to be exact.
Nancy Wong, VanDusen Garden’s Public Relations Director, proudly pointed out that volunteers counted each light bulb every year and made sure they were working before putting them on.
The Festival of Lights is an extremely popular event. Families come in droves.
On the first day of the festival (Dec 02), there was a long lineup of people wanting in before the garden officially opened at 4:30 PM. In fact, visitors were advised to purchase tickets in advance at Tickets Tonight or in person at the Garden Shop at VanDusen Garden as early as Nov 1st.
Once visitors entered the garden, many of them seek out the popular Dancing Lights at Livingstone Lake in which a continuous series of strobe lights was synchronized to rock versions of familiar Christmas songs that reverberated with the audience, adults and kids alike.
Music is the universal language, no loss in translation there. It signifies the joyous season and everyone is excited to be there. Dancing Lights plays every half-hour and it has become one of the main attractions of the Festival of Lights experience.
After the light show, visitors began to explore different areas of the garden and there were plenty for them to see and enjoy - Santa’s Living Room, Gingerbread Wood, Make-a-Wish Candle Shrine, Sparkling Spruce in the centre court, Candy Cane Express model train etc.
Roaming along the brightly-illuminated Candy Cane Lane, you would likely hear a singing choir that draws you nearer or encounter two Christmas Gnomes, Svend and Jens eager to entertain.
Svend joked often in a heavy Swedish accent while Jens played his quiet and abiding partner. Their routine worked out very well I must say.
It’s the Winter Light season (not Lights, in honor of director Ingmar Bergman) and with Svend and Jens close by, you are reminded of the Swedish filmmaker’s world-famous troupe of actors including Liv Ulman, Max Von Sydow, Gunnel Lindblom and others. Ja!
After an hour or two, you just might feel hungry and it is a perfect time to have dinner at the garden. Both light fare and full meals are available at the VanDusen Garden. Dinner is also served every night at the Shaughnessy Restaurant during the Festival of Lights. Reservations are recommended.
Ho-Ho-Ho, Santa’s rocking in his chair too!
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Ray Van Eng is an award-winning photographer, journalist, online publisher, screenwriter and movie & TV producer. One of his videos is currently on view at the Hava Nagila Exhibit, Museum of Jewish Heritage – A Living Memorial to the Holocaust in New York City. from Sep 2012 to May 2013.
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Principles of a green economy.
For any form of publication, please include the link to this page:
This photo has been graciously provided to be used in the GRID-Arendal resources library by: GRID-Arendal
Gyeongbokgung (Hangul: 경복궁; hanja: 景福宫), also known as Gyeongbokgung Palace or Gyeongbok Palace, was the main royal palace of the Joseon dynasty. Built in 1395, it is located in northern Seoul, South Korea. The largest of the Five Grand Palaces built by the Joseon dynasty, Gyeongbokgung served as the home of Kings of the Joseon dynasty, the Kings' households, as well as the government of Joseon.
Gyeongbokgung continued to serve as the main palace of the Joseon dynasty until the premises were destroyed by fire during the Imjin War and abandoned for two centuries. However, in the 19th century, all of the palace's 7,700 rooms were later restored under the leadership of Prince Regent Heungseon during the reign of King Gojong. Some 500 buildings were restored on a site of over 40 hectares. The architectural principles of ancient Korea were incorporated into the tradition and appearance of the Joseon royal court.
In the early 20th century, much of the palace was systematically destroyed by Imperial Japan. Since then, the walled palace complex is gradually being reconstructed to its original form. Today, the palace is arguably regarded as being the most beautiful and grandest of all five palaces. It also houses the National Palace Museum of Korea and the National Folk Museum within the premises of the complex.
OVERVIEW
Gyeongbokgung was built three years after the Joseon dynasty was founded and it served as its main palace. With Mount Bugak as a backdrop and the Street of Six Ministries (today's Sejongno) outside Gwanghwamun Gate, the main entrance to the palace, Gyeongbokgung was situated in the heart of the Korean capital city. It was steadily expanded before being reduced to ashes during the Japanese invasion of 1592.
For the next 273 years the palace grounds were left derelict until being rebuilt in 1867 under the leadership of Regent Heungseon Daewongun. The restoration was completed on a grand scale, with 330 buildings crowded together in a labyrinthine configuration. Within the palace walls were the Outer Court (oejeon), offices for the king and state officials, and the Inner Court (naejeon), which included living quarters for the royal family as well as gardens for leisure. Within its extensive precincts were other palaces, large and small, including Junggung (the Queen`s residence) and Donggung (the Crown prince’s residence).
Owing to its status as the symbol of national sovereignty, Gyeongbokgung was demolished during the Japanese occupation of the early 20th century. In 1911, ownership of land at the palace was transferred to the Japanese Governor-General. In 1915, on the pretext of holding an exhibition, more than 90% of the buildings were torn down. Following the exhibition the Japanese leveled whatever still remained and built their colonial headquarters, the Government-General Building (1916–26), on the site.
Restoration efforts have been ongoing since 1990. The Government-General Building was removed in 1996 and Heungnyemun Gate (2001) and Gwanghwamun Gate (2006-2010) were reconstructed in their original locations and forms. Reconstructions of the Inner Court and Crown Prince’s residence have also been completed.
HISTORY
14th—16th CENTURIES
Gyeongbokgung was originally constructed in 1394 by King Taejo, the first king and the founder of the Joseon dynasty, and its name was conceived by an influential government minister named Jeong Do-jeon. Afterwards, the palace was continuously expanded during the reign of King Taejong and King Sejong the Great. It was severely damaged by fire in 1553, and its costly restoration, ordered by King Myeongjong, was completed in the following year.
However, four decades later, the Gyeongbokgung Palace was burnt to the ground during the Japanese invasions of Korea of 1592-1598. The royal court was moved to the Changdeokgung Palace. The Gyeongbokgung palace site was left in ruins for the next three centuries.
19th CENTURY
In 1867, during the regency of Daewongun, the palace buildings were reconstructed and formed a massive complex with 330 buildings and 5,792 rooms. Standing on 4,657,576 square feet (432,703 square meters) of land, Gyeongbokgung again became an iconic symbol for both the Korean nation and the Korean royal family. In 1895, after the assassination of Empress Myeongseong by Japanese agents, her husband, Emperor Gojong, left the palace. The Imperial Family never returned to Gyeongbokgung.
20th—21st CENTURIES
Starting from 1911, the colonial government of the Empire of Japan systemically demolished all but 10 buildings during the Japanese occupation of Korea and hosted numerous exhibitions in Gyeongbokgung. In 1926, the government constructed the massive Japanese General Government Building in front of the throne hall, Geunjeongjeon, in order to eradicate the symbol and heritage of the Joseon dynasty. Gwanghwamun Gate, the main and south gate of Gyeongbokgung, was relocated by the Japanese to the east of the palace, and its wooden structure was completely destroyed during the Korean War.
Gyeongbokgung's original 19th-century palace buildings that survived both the Japanese rule of Colonial Korea and the Korean War include:
- Geunjeongjeon (the Imperial Throne Hall) — National Treasure No. 223.
- Gyeonghoeru Pavilion — National Treasure No. 224.
- Hyangwonjeong Pavilion; Jagyeongjeon Hall; Jibokjae Hall; Sajeongjeon Hall; and Sujeongjeon Hall.
Modern archaeological surveys have brought 330 building foundations to light.
RESTAURATION
In 1989, the South Korean government started a 40-year initiative to rebuild the hundreds of structures that were destroyed by the colonial government of the Empire of Japan, during the period of occupied Colonial Korea (1910-1945).
In 1995, the Japanese General Government Building, after many controversial debates about its fate, was demolished in order to reconstruct Heungnyemun Gate and its cloisters. The National Museum of Korea, then located on the palace grounds, was relocated to Yongsan-gu in 2005.
By the end of 2009, it was estimated that approximately 40 percent of the structures that were standing before the Japanese occupation of Korea were restored or reconstructed. As a part of phase 5 of the Gyeongbokgung restoration initiative, Gwanghwamun, the main gate to the palace, was restored to its original design. Another 20-year restoration project is planned by the South Korean government to restore Gyeongbokgung to its former status.
LAYOUT
MAIN GATES OF GYEONGBOKGUNG
Gwanghwamun (The Main and South Gate)
Heungnyemun (The Second Inner Gate)
Geunjeongmun (The Third Inner Gate)
Sinmumun (The North Gate)
Geonchunmun (The East Gate)
Yeongchumun (The West Gate)
OEJEON (Outer Court)
Geunjeongmun (The Third Inner Gate)
Geunjeongjeon (The Throne Hall)
Sajeongjeon (The Executive Office)
Sujeongjeon
Cheonchujeon
Manchunjeon
NAEJEONG (Inner Court)
Gangnyeongjeon (The King's Quarters)
Gyotaejeon (The Queen's Quarters)
Jagyeongjeon (The Late Queen's Quarters)
DONGGUNG (Palace of the Crown Prince)
Jaseondang (The Crown Prince's and Princesses' Quarters)
Bihyeongak (The Study of the Crown Prince)
PAVILIONS
Gyeonghoeru (The Royal Banquet Hall)
Hyangwonjeong
BRIDGES
Yeongjegyo
Having passed through the initial main gate and secondary gate (Heungnyemun Gate), visitors would pass over a small bridge named Yeongjegyo. Located on the top of the canal right next to the bridge were several imaginary creatures known as Seosu.
Chwihyanggyo
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon Dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
BIHYEONGAK
Bihyeongak (Hangul: 비현각; hanja: 丕顯閣) means big and bright a royal palace where crown prince brush up on his' study with his teacher.
BUILDINGS
GANGNYEONGJEON
Gangnyeongjeon (Hangul: 강녕전; hanja: 康寧殿), also called Gangnyeongjeon Hall, is a building used as the king's main residing quarters. First constructed in 1395, the fourth year of King Taejo, the building contains the king's bed chamber. Destroyed during the Japanese invasions of Korea in 1592, the building was rebuilt when Gyeongbokgung was reconstructed in 1867, but it was again burned down by a major fire on November 1876 and had to be restored in 1888 following the orders of King Gojong.
However, when Huijeongdang of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government dismembered the building and used its construction materials to restore Huijeongdang in 1920. Current Gangnyeongjeon was built in 1994, meticulously restoring the building to its original specifications and design.
Gangnyeongjeon consists of corridors and fourteen rectangular chambers, each seven chambers located to the left and right side of the building in a layout out like a checkerboard. The king used the central chamber while the court attendants occupied the remaining side chambers to protect, assist, and to receive orders. The building rests on top of a tall stone foundation, and a stone deck or veranda is located in front of the building.
The noted feature of the building is an absence of a top white roof ridge called yongmaru (Hangul: 용마루) in Korean. Many theories exist to explain the absence, of which a prominent one states that, since the king was symbolized as the dragon during the Joseon dynasty, the yongmaru, which contains the letter dragon or yong (龍), cannot rest on top of the king when he is asleep.
GEUNJEONGJEON
Geunjeongjeon (Hangul: 근정전; hanja: 勤政殿), also known as Geunjeongjeon Hall, is the throne hall where the king formally granted audiences to his officials, gave declarations of national importance, and greeted foreign envoys and ambassadors during the Joseon dynasty. The building was designated as Korea's National Treasure No. 223 on January 8, 1985.
Geunjeongjeon was originally constructed in 1395 during the reign of King Taejo, but was burned down in 1592 when the Japanese invaded Korea. The present building was built in 1867 when Gyeongbokgung was being reconstructed. The name Geunjeongjeon, created by the minister Jeong Do-jeon, means "diligence helps governance".
Constructed mainly of wood, Geunjeongjeon sits on the center of a large rectangular courtyard, on top of a two-tiered stone platform. This two-tiered platform is lined with detailed balustrades and is decorated with numerous sculptures depicting imaginary and real animals, such as dragons and phoenixes. The stone-paved courtyard is lined with two rows of rank stones, called pumgyeseoks (Hangul: 품계석; hanja: 品階石), indicating where the court officials are to stand according to their ranks. The whole courtyard is fully enclosed by wooden cloisters.
Geunjeongmun (Hangul: 근정문; hanja: 勤政門), aligned and located directly to the south of Geunjeongjeon, is the main gate to the courtyard and to Geunjeongjeon. The gate is divided into three separate aisles, and only the king was allowed to walk through the center.
GWANGHWAMUN
Gwanghwamun (Hangul: 광화문; hanja: 光化門) is the main gate of Gyeongbokgung Palace.
GYEONGHOERU
Gyeonghoeru (Hangul: 경회루; hanja: 慶會樓), also known as Gyeonghoeru Pavilion, is a hall used to hold important and special state banquets during the Joseon Dynasty. It is registered as Korea's National Treasure No. 224 on January 8, 1985.
The first Gyeonghoeru was constructed in 1412, the 12th year of the reign of King Taejong, but was burned down during the Japanese invasions of Korea in 1592. The present building was constructed in 1867 (the 4th year of the reign of King Gojong) on an island of an artificial, rectangular lake that is 128 m wide and 113 m across.
Constructed mainly of wood and stone, Gyeonghoeru has a form where the wooden structure of the building sits on top of 48 massive stone pillars, with wooden stairs connecting the second floor to the first floor. The outer perimeters of Gyeonghoeru are supported by square pillars while the inner columns are cylindrical; they were placed thus to represent the idea of Yin & Yang. When Gyeonghoeru was originally built in 1412, these stone pillars were decorated with sculptures depicting dragons rising to the sky, but these details were not reproduced when the building was rebuilt in the 19th century. Three stone bridges connect the building to the palace grounds, and corners of the balustrades around the island are decorated with sculptures depicting twelve Zodiac animals.
Gyeonghoeru used to be represented on the 10,000 won Korean banknotes (1983-2002 Series).
GYOTAEJEON
Gyotaejeon (Hangul: 교태전; hanja: 交泰殿), also called Gyotaejeon Hall, is a building used as the main residing quarters by the queen during the Joseon Dynasty. The building is located behind Gangnyeongjeon, the king's quarters, and contains the queen's bed chamber. It was first constructed in around 1440, the 22nd year of King Sejong the Great.
King Sejong, who was noted to have a frail health later in his reign, decided to carry out his executive duties in Gangnyeongjeon, where his bed chamber is located, instead of Sajeongjeon. Since this decision meant many government officials routinely needed to visit and intrude Gangnyeongjeon, King Sejong had Gyotaejeon built in consideration of his wife the queen's privacy.
The building was burned down in 1592 when the Japanese invaded Korea, but was reconstructed in 1867. Nevertheless, when Daejojeon of Changdeokgung Palace was burned down by a fire in 1917, the Japanese government disassembled the building and recycled its construction materials to restore Daejojeon. The current building was reconstructed in 1994 according to its original design and specifications. The building, like Gangnyeongjeon, does not have a top roof ridge called yongmaru.
Amisan (Hangul: 아미산; hanja: 峨嵋山), a famous garden created from an artificial mound, is located behind Gyotaejeon. Four hexagonal chimneys, constructed around 1869 in orange bricks and decorative roof tiles, adorn Amisan without showing their utilitarian function and are notable examples of formative art created during the Joseon Dynasty. The chimneys were registered as Korea's Treasure No. 811 on January 8, 1985.
HYANGWONJEONG
Hyangwonjeong (Hangul: 향원정; hanja: 香遠亭), or Hyangwonjeong Pavilion, is a small, two-story hexagonal pavilion built around 1873 by the order of King Gojong when Geoncheonggung residence was built to the north within Gyeongbokgung.
The pavilion was constructed on an artificial island of a lake named Hyangwonji (Hangul: 향원지; hanja: 香遠池), and a bridge named Chwihyanggyo (Hangul: 취향교; hanja: 醉香橋) connects it to the palace grounds. The name Hyangwonjeong is loosely translated as "Pavilion of Far-Reaching Fragrance", while Chwihyanggyo is "Bridge Intoxicated with Fragrance".
The bridge Chwihyanggyo was originally located on the north side of the island and was the longest bridge constructed purely of wood during the Joseon dynasty; however, it was destroyed during the Korean War. The bridge was reconstructed in its present form on the south side of the island in 1953.
JAGYEONGJEON
Jagyeongjeon (Hangul: 자경전; hanja: 慈慶殿), also called Jagyeongjeon Hall, is a building used as the main residing quarters by Queen Sinjeong (Hangul: 신정왕후; hanja: 神貞王后), the mother of King Heonjong. First constructed in 1865, it was burned down twice by a fire but was reconstructed in 1888. Jagyeongjeon is the only royal residing quarters in Gyeongbokgung that survived the demolition campaigns of the Japanese government during the Japanese occupation of Korea.
The chimneys of Jagyeongjeon are decorated with ten signs of longevity to wish for a long life for the late queen, while the west walls of the Jagyeongjeon compound are adorned with floral designs. The protruding southeast part of Jagyeongjeon, named Cheongyeollu (Hangul: 청연루; hanja: 清讌樓), is designed to provide a cooler space during the summer, while the northwest part of Jagyeongjeon, named Bokandang (Hangul: 복안당; hanja: 福安堂), is designed for the winter months. The eastern part of Jagyeogjeon, named Hyeopgyeongdang (Hangul: 협경당; hanja: 協慶堂) and distinguished by the building's lower height, was used by the late queen's assistants.
The building and the decorative walls were registered as Korea's Treasure No. 809 on January 8, 1985.
JIBOKJAE
Jibokjae (Hangul: 집옥재; hanja: 集玉齋), located next to Geoncheonggung Residence, is a two-storey private library used by King Gojong. In 1876, a major fire occurred in Gyeongbokgung Palace, and King Gojong, for a brief period, moved and resided in Changdeokgung Palace. He eventually moved back to Gyeongbokgung in 1888, but he had the pre-existing Jibokjae building disassembled and moved from Changdeokgung to the present location in 1891. Its name, Jibokjae, translates loosely in English as the "Hall of Collecting Jade".
The building uniquely shows heavy influence of Chinese architecture instead of traditional Korean palace architecture. Its side walls were entirely constructed in brick, a method commonly employed by the contemporary Chinese, and its roof formations, interior screens, and columns also show Chinese influences. Its architecture possibly was meant to give it an exotic appearance.
Jibokjae is flanked by Parujeong (Hangul: 팔우정; hanja: 八隅亭), an octagonal two-story pavilion, to the left and Hyeopgildang (Hangul: 협길당; hanja: 協吉堂) to the right. Parujeong was constructed to store books, while Hyeopgildang served as a part of Jibokjae. Both of the buildings are internally connected to Jibokjae.
Bohyeondang (Hangul: 보현당; hanja: 寶賢堂) and Gahoejeong (Hangul: 가회정; hanja: 嘉會亭), buildings that also formed a library complex to the south of Jibokjae, were demolished by the Japanese government in the early 20th century.
SAJEONGJEON
Sajeongjeon (Hangul: 사정전; hanja: 思政殿), also called Sajeongjeon Hall, is a building used as the main executive office by the king during the Joseon Dynasty. Located behind Geunjeongjeon Hall, the king carried out his executive duties and held meetings with the top government officials in Sajeongjeon. Two separate side buildings, Cheonchujeon (Hangul: 천추전; hanja: 千秋殿) and Manchunjeon (Hangul: 만춘전; hanja: 萬春殿), flank the west and east of Sajeongjeon, and while Sajeongjeon is not equipped with a heating system, these buildings are equipped with Ondols for their use in the colder months.
SUJEONGJEON
Sujeongjeon (Hangul: 수정전; hanja: 修政殿), a building located to the south of Gyeonghoeru, was constructed in 1867 and used by the cabinet of the Joseon dynasty.
TAEWONJEON
Taewonjeon (Hangul: 태원전; hanja: 泰元殿), or Taewonjeon Shrine, is an ancestral shrine originally built in 1868 to house a portrait of King Taejo, the founder of the Joseon dynasty, and to perform rites to the deceased royalties. Completely destroyed by the Japanese government in the early 20th century, the shrine was accurately restored to its former design in 2005.
DONGGUNG
Donggung (Hangul: 동궁; hanja: 東宮), located south of the Hyangwonjeong pavilion, was the compound where the crown prince and his wife were living. The four main buildings of the compound were Jaseondang and Bihyeongak, Chunbang (lecture hall, where the prince got the education preparing him to the throne), as well as Gyebang (the security building). In the 19th century, the future Emperor Sunjong lived in the compound. Dongdung was razed to the ground during the Japanese occupation. The restoration started in 1999, only Jaseondang and Bihyeongak were restored.
GEONCHEONGGUNG
Geoncheonggung (Hangul: 건청궁; hanja: 乾淸宮), also known as Geoncheonggung Residence, was a private royal residence built by King Gojong within the palace grounds in 1873.
King Gojong resided in Geoncheonggung from 1888 and the residence was continuously expanded, but on October 8, 1895, Empress Myeongseong, the wife of King Gojong, was brutally assassinated by the Japanese agents at the residence. Her body was burned and buried near the residence.
Haunted by the experiences of the incident, the king left the palace in January 1896, and never returned to the residence. Demolished completely by the Japanese government in 1909, the residence was accurately reconstructed to its former design and open to the public in 2007.
GOVERNOR-GENERAL´S RESIDENCE
The back garden of Gyeongbokgung used to contain the main part of the Japanese Governor-General's residence, that was built in the early 20th century during the Japanese occupation. With the establishment of the Republic of Korea in 1948, President Syngman Rhee used it as his office and residence. In 1993, after President Kim Young-sam's civilian administration was launched, the Japanese Governor-General's residence in the Cheongwadae compound was dismantled to remove a major symbol of the Japanese colonialism.
TOURISM
In 2011 in a survey conducted, by Seoul Development Institute, which included 800 residents and 103 urban planners and architects. It listed 39 percent of residents, voted that the palace as the most scenic location in Seoul, following Mount Namsan and Han River in the top spots.
ACCESS
Today, the Gyeongbokgung Palace is open to the public and houses the National Folk Museum of Korea, the National Palace Museum of Korea, and traditional Korean gardens.
TRANSPORTATION
Gyeongbokgung entry is located 22 Sajik-no, Jongno-gu. The nearest subway station is Gyeongbokgung Station (Station #327 on Line 3).
There has been off and on talk to extending the Shinbundang Line near the palace including during a March 2012 campaign promise by Hong Sa-duk to expand the line near Gyeongbok Palace
EVENS
In a poll of nearly 2,000 foreign visitors, conducted by the Seoul Metropolitan Government in November 2011, stated that watching the changing of the guards at the main gate Gwanghwamun as their third favorite activity in Seoul. The royal changing of the guard ceremony is held in front of the main gate every hour from 10:00 to 15:00.
From October, Gyeongbokgung open night season. from 7PM to 10PM. This event is only available to reservation in Inter Park Website.
WIKIPEDIA
Funny. I didn't remember, but found out via my map, that I've shot this same wall in june 2006, when I was new to Flickr.
Against the grim backdrop of the COVID-19 pandemic, chief executives of 110 companies in Thailand have pledged to advance gender equality in business by implementing the Women’s Empowerment Principles (WEPs). The event was hosted by WeEmpowerAsia, a UN Women programme funded by and in partnership with the European Union. Read the full press release: unwo.men/tGyn50BFura
Date: September 30, 2020
Location: Bangkok, Thailand
Photo: UN Women/Siraphob Werakijpanich & Tanasin Pheankusol
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
"The paramount question of the day is not political, is not religious, but is economic. The crying-out demand of today is for a circle of principles that shall forever make it impossible for one man to control another by controlling the means of his existence."
“Anarchism, to me, means not only the denial of authority, not only a new economy, but a revision of the principles of morality. It means the development of the individual as well as the assertion of the individual. It means self-responsibility, and not leader worship.”
"I would rather, much rather, be illegitimate according to the statutes of men, than illegitimate according to the unchanging law of nature."
“If this is the price to be paid for an idea, then let us pay. There is no need of being troubled about it, afraid, or ashamed. This is the time to boldly say, “Yes, I believe in the displacement of this system of injustice by a just one; I believe in the end of starvation, exposure, and the crimes caused by them; I believe in the human soul regnant over all laws which man has made or will make; I believe there is no peace now, and there will never be peace, so long as one rules over another; I believe in the total disintegration and dissolution of the principle and practice of authority; I am an Anarchist, and if for this you condemn me, I stand ready to receive your condemnation.”
“We are bound first to imform ourselves concerning so great a matter as the revolt of millions of people - what they are struggling for, what they are struggling against, and how the struggle stands- from day to day...as best you can; and second, to spread this knowledge among others, and endeavor to do what little you can to awaken the consciousness and sympathy of others.”
“But what the working-class can do, when once they grow into a solidified organization, is to show the possessing class, through a sudden cessation of all work, that the whole social structure rests on them; that the possessions of the others are absolutely worthless to them without the workers' activity; that such protests, such strikes, are inherent in the system of property and will continually recur until the whole thing is abolished -- and having shown that effectively, proceed to expropriate. ”
"For it must needs that offences come, but woe to him through whom the offence cometh." The crimes of the future are the harvests sown of the ruling classes of the present. Woe to the tyrant who shall cause the offense!
Sometimes I dream of this social change. I get a streak of faith in Evolution, and the good in man. I paint a gradual slipping out of the now, to that beautiful then, where there are neither kings, presidents, landlords, national bankers, stockbrokers, railroad magnates, patentright monopolists, or tax and title collectors; where there are no over-stocked markets or hungry children, idle counters and naked creatures, splendor and misery, waste and need. I am told this is farfetched idealism, to paint this happy, povertyless, crimeless, diseaseless world; I have been told I "ought to be behind the bars" for it.
Remarks of that kind rather destroy the white streak of faith. I lose confidence in the slipping process, and am forced to believe that the rulers of the earth are sowing a fearful wind, to reap a most terrible whirlwind. When I look at this poor, bleeding, wounded World, this world that has suffered so long, struggled so much, been scourged so fiercely, thorn-pierced so deeply, crucified so cruelly, I can only shake my head and remember: The giant is blind, but he's thinking: and his locks are growing, fast."
• (In the first line presented here de Cleyre quotes an admonition of Jesus Christ, and in the last line, the giant she refers to is the blinded Samson.)
“I die, as I have lived, a free spirit, an Anarchist, owing no allegiance to rulers, heavenly or earthly.”
Quote Source -> secure.wikimedia.org/wikiquote/en/wiki/Voltairine_de_Cleyre
sunsite.berkeley.edu/goldman/Writings/Essays/voltairine.html
dwardmac.pitzer.edu/Anarchist_Archives/bright/cleyre/Cley...
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Event: The Annual Women’s Empowerment Principles, entitled “Unlimited Potential: Business Partners for Gender Equality”
hosted by UN Women and the UN Global Compact in ECOSOC chambers at United Nations Headquarters on 10 March 2015.
Welcoming remarks by:
Master of Ceremonies: Jo Confino, Executive Editor, The Guardian and Chairman & Editorial Director of Guardian Sustainable Business
Georg Kell, Executive Director, UN Global Compact
Phumzile Mlambo-Ngcuka, Under-Secretary-General and Executive Director, UN Women.
Opening remarks by: UNSGKeynote Speaker: Hon. Hillary Rodham Clinton, former US Secretary of State
Photo: UN Women/Ryan Brown
Beautiful Fine Art Ballerina Dancer in Pointe Shoes & Leotard! Golden Ratio Composition Ballet, Ballerina, & Dancer Photography Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
My Epic Gear Guide for Landscapes & Portraits!
Everyone is always asking me for this! Here ya go! :)
My Epic Book: Photographing Women Models!
Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ...
Support my Epic Physics Theory: Light, Time, Dimension Theory!
www.facebook.com/lightimedimensiontheory/
Regarding the award-winning physicist Dr. Elliot McGucken at Princeton University, the late John Archibald Wheeler stated, "More intellectual curiosity, versatility and yen for physics than Elliot McGucken's I have never seen in any senior or graduate student. . . Originality, powerful motivation, and a can-do spirit make me think that McGucken is a top bet."
Dr. E would go on to heal the blind with his NSF-funded, award-winning Ph.D. dissertation which also laid down the foundations of Light Time Dimension Theory. Over the years, LTD Theory added foundational *physical* postulates, principles, and equations en route to becoming numerous books, with this one forming the simple, illustrated introduction. My fine art photography (writing with light) graces the books!
Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!
Follow me friends!
facebook.com/goldennumberratio
Epic books, prints, & more!
Exalt your photography with Golden Ratio Compositions!
Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!
Epic Landscape Photography:
A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)
Epic Art & Gear for your Epic Hero's Odyssey:
Beautiful Surf Goddesses! Athletic Action Portraits of Swimsuit Bikini Models! Athena, Artemis, Helen, and Aphrodite!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Go to the Book with image in the Internet Archive
Title: Surgery, its principles and practice
Creator: Ashhurst, Astley Paston Cooper
Publisher: Philadelphia, Lea
Sponsor: MSN
Contributor: Gerstein - University of Toronto
Date: 1920
Language: eng
14
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
In a 2,000-word essay in the latest issue of The Architectural Review, Prince Charles has come up with 10 “important geometric principles” for urban masterplanning. He says we need to “reconnect with traditional approaches” and said “It is time to take a more mature view” as he lays out his vision for the future of architecture and planning.
“All I am suggesting is that the new alone is not enough. We have to be mindful of the long-term consequences of what we construct in the public realm and, in its design, reclaim our humanity and our connection with nature, both of which, because of the corporate rather than human way in which our urban spaces have been designed, have come under increasing threat.”
“To counter this, I believe we have to revisit the learning that for so long has been embedded in traditional approaches to design, simply because they are so rooted in our own connection with nature’s patterns and processes. As we face so many critical challenges in the years ahead, these approaches are crying out to be brought back to the forefront of contemporary practice.”
His 10 principles are:
Developments must respect the land. They should not be intrusive; they should be designed to fit within the landscape they occupy.
Architecture is a language. We have to abide by the grammatical ground rules, otherwise dissonance and confusion abound. This is why a building code can be so valuable.
Scale is also key. Not only should buildings relate to human proportions, they should correspond to the scale of the other buildings and elements around them. Too many of our towns have been spoiled by casually placed, oversized buildings of little distinction that carry no civic meaning.
Harmony – the playing together of all parts. The look of each building should be in tune with its neighbours, which does not mean creating uniformity. Richness comes from diversity, as Nature demonstrates, but there must be coherence, which is often achieved by attention to details like the style of door cases, balconies, cornices and railings.
The creation of well-designed enclosures.Rather than clusters of separate houses set at jagged angles, spaces that are bounded and enclosed by buildings are not only more visually satisfying, they encourage walking and feel safer.
Materials also matter. In the UK, as elsewhere, we have become dependent upon bland, standardised building materials. There is much too much concrete, plastic cladding, aluminium, glass and steel employed, which lends a place no distinctive character. For buildings to look as if they belong, we need to draw on local building materials and regional traditional styles.
Signs, lights and utilities. They can be easily overused. We should also bury as many wires as possible and limit signage. A lesson learned from Poundbury is that it is possible to rid the street of nearly all road signs by using ‘events’ like a bend, square or tree every 60-80 metres, which cause drivers to slow down naturally.
The pedestrian must be at the centre of the design process. Streets must be reclaimed from the car.
Density. Space is at a premium, but we do not have to resort to high-rise tower blocks which alienate and isolate. I believe there are far more communal benefits from terraces and the mansion block. You only have to consider the charm and beauty of a place like Kensington and Chelsea in London to see what I mean. It is often forgotten that this borough is the most densely populated one in London.
Flexibility. Rigid, conventional planning and rules of road engineering render all the above instantly null and void, but I have found it is possible to build flexibility into schemes and I am pleased to say that many of the innovations we have tried out in the past 20 years are now reflected in national engineering guidance, such as The Manual For Streets.
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
www.facebook.com/epiclandscapephotography/
Join my new 45EPIC fine art landscapes page on facebook!
facebook.com/mcgucken
Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
More on my golden ratio musings: facebook.com/goldennumberratio
instagram.com/goldennumberratio
Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
facebook.com/goldennumberratio
And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on instagram!
Join my new 45EPIC fine art landscapes page on facebook!
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
2001 China TCDC International Training Course on Bamboo Technology
DESCRIPTION:
Training Course
China National Bamboo Research Center
CHINA
FOR MORE INFORMATION:
Mr. Ding Xingcui,
Mr. Wu Jintao cbrc@mail.hz.zj.cn
+86 571 8869217 or 8863888 ext. 8915
PRESS RELEASE:
Participants are required to master the basic theories and principles of cultivation processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
Enrollment Information for Course Guangzhou - 10-May-2001
ENROLLMENT INFORMATION 2001
China TCDC International Training Course on Bamboo Technology
Totally, there are 1250 species of bamboo or more belonged to 150 genera with a bamboo forest area of 1700 million ha. in the world, among which, there are more than 500 species belonging to 39 genera with a bamboo forest area of 500 million ha. in China, or about 1/3 of the world total, therefore, China is reputed as a "Bamboo Kingdom". China not only is a big country of bamboo resources, but also has already accumulated so much experience in bamboo research, exploitation, production, and management, etc., as a result, has been in advanced position of the world in many aspects of bamboo, especially marked achievements have been scored in bamboo integrated processing and utilization. The total production value of bamboo sector in China in 1999 is over US$ 2.2 billion. Bamboo sector has been becoming a new sunrising industry.
China National Bamboo Research Center (CBRC) was established in 1988 in Hangzhou, a picturesque city in eastern China, which is located in one of the China's biggest bamboo grown centers, and well-known for its West Lake. CBRC has three missions as enshrined by the Ministry of Science and Technology, the State Administration of Forestry: (a) to undertake, organize and coordinate major international and domestic bamboo projects of research and exploitation; (b) to undertake international technical and economic exchange and cooperation and personnel training in bamboo; and (c) to be managed and operated by modality of share-holding and gradually grow into a locomotive and backbone enterprise of China's bamboo sector so as to enhance China bamboo industry as a whole.
In order to disseminate bamboo technology, CBRC has already held with success several training courses/workshops entrusted by United Nations Development Program (UNDP), the Ministry of Foreign Trade & Economic Cooperation (MOFTEC), P.R. China, etc.
"2001 China TCDC International Training Course on Bamboo Technology" is the course sponsored by the Chinese Government. CBRC is entrusted by the MOFTEC to organize this training course. We should invite famous experts, professors all over the China, even an academician to give lectures.
1. Objectives
Participants are required to master the basic theories and principles of cultivation, processing and utilization of bamboo so as to enhance their awareness and capacity of integrated development of bamboo, and create a chance leading to further mutual fruitful exchange and cooperation.
2. Date and Duration
From May 8 to June 22, 2001.
3. Venue
China National Bamboo Research Center (CBRC) No. 138 Wenyi Rd., Hangzhou, Zhejiang Province, 310012 P.R. China
4. Main Course Contents
Present situation of bamboo resources, cultivation, processing, utilization in China and in the world; Bamboo sustainable development; Bamboo classification and introduction; Bamboo genetic pool set-up and maintenance; Bamboo biology and ecology, including individual and population growth and development; Bamboo propagation; Oriented cultivation of in-kind bamboo stands, such as for shoot, timber, both shoot and timber, coastal shelter, water and soil conservation, landscape, and pulp etc.; Bamboo landscaping; Bamboo pest control; Bamboo shoot production and processing; Production technologies of bamboo flooring and 10-plus bamboo artificial boards; Bamboo food, Bamboo integrated utilization (bamboo mats, bamboo charcoal, bamboo chemical utilization, etc); and Bamboo timber and shoot preservation; Bamboo social economy, etc.
5. Training Methods
Lectures, Field Practice, Demonstration, Seminar on Special Topics, Field Tours, Discussion and Report Presentation, Term Paper, etc.
6. Medium of Instruction
English
7. Source of Trainees
Technical, management and research personnel or officials in the field of forestry, bamboo, agriculture and others from developing countries.
8. Methods for Evaluation
The evaluation for the participants will be done on the basis of written tests, field practice, site study and comprehensive performance. Successful completion of the training program will lead to a diploma offered by CBRC. The allotment of marks will be as follows: a) Written tests 50% b) Comprehensive performance 50%
9. Participant's Qualifications and Requirements for Admission
Participants are requested: 1) To be nominated by his/her related government department; 2) To be less than 45 years old, better with a minimum educational background of college graduate, better with an agriculture, forestry and bamboo background and with a minimum of two years' practice in the relative profession; 3) To be in good health conditions with no infectious diseases and not handicapped. Physically fit to completing all course activities; 4) To be proficient in English reading, listening, speaking and writing; 5) To prepare a review paper or report on the bamboo (forestry) production or research of the participant's country and brief introduction of the participant's professional experiences for the purpose of experiences exchange; 6) Not to bring family members to the training course; and 7) To observe all the laws, rules and regulations of P. R. China and respect the Chinese customs during the training period.
10. Training Expenses
1) The expenses of training, boarding and lodging, local transportation, pocket money of RMB 30 Yuan per person per day during the training period in China will be borne by the Chinese Government and distributed by CBRC. 2) The International travel costs including round trip tickets, transit fares are to be covered by the participants themselves, or their respective Governments, or their employers or sponsored by some international organizations, like UNDP, ESCAP, FAO, etc. through proper application and consultations. 3) The expenses of medical care, insurance and domestic salaries for the participants are to be borne by the participants' governments.
11. Application and Admission
1) The applicants should be nominated by their respective Governments. The nominated participants are requested to fill up the Application Forms, which should be endorsed by the departments concerned of their respective Governments, and submit with valid Health Certificates provided by authorized physicians or hospitals to the Economic and Commercial Counselor's Office of the Chinese Embassy ( ECCOCE ) for examination, recommendation and endorsement; 2) After endorsed by the Economic and Commercial Counselor's Office of the Chinese Embassy, Admission Notices will be issued to the accepted participants by the ECCOCE through the related governmental departments of the participants. With the Admission Notices, the participants are requested to go through all necessary formalities for entering into China and bring all the documents like Admission Notices, Application Forms, Health Certificates to China for attending the Course on time.
12. Insurance
The training course organizer dose not hold any responsibility for such risks as loss of life, accidents, illness, loss of properties incurred by the participants during the training period.
13. Liaison Address
Attn: Mr. Ding Xingcui, Mr. Wu Jintao China National Bamboo Research Center No. 138, Wenyi Rd., Hangzhou 310012 Zhejiang Province P.R. China Phone:+86 571 8869217 or 8863888 ext. 8915 Mobile: +86 13805791796 Fax: +86 571 8869217, 8860944
E-mail: cbrc@mail.hz.zj.cn
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
This is a small video clip about the Compositional Principles made by Chanel Higashi and Annique Daquep
A figure used in a lecture from JR James at the Department of Town and Regional Planning at The University of Sheffield between 1967 and 1978.
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
Roy Lichtenstein (1923-1997), La Sortie/Der Ausgang, 1990 (Holzschnitt/Woodcut), Albertina, Ankauf/Acquisition 2001
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Using the same design principles of my Nintendo World Mosaic from fall 2013, in conjunction with my mosaic “Lite Brite” mood lamps from December, I’ve combined both ideas and created a flat mosaic sprite portrait with hollow innards lined with bright LED strips! The light from the LEDs illuminate the colored LEGO dots plugged into a mosaic grid of Technic bricks, thus mimicking a “Lite Brite” effect. Each LED strip is soldered into a series circuit with 24 gauge wires, then connected to a switch and a female DC adapter plug. The grid of LED strips is attached to a rear door which opens/closes via LEGO hinge bricks.
Check out the tutorial on Instructables, so you can build your own!
www.instructables.com/id/Illuminated-Mosaic-LEGO-Sprite-P...
Electrical power: 12VDC
LED strips: 16 feet (~5 meters)
U.S. Customs and Border Protection Commissioner R. Gil Kerlikowske and New Zealand Customs Service Comptroller Carolyn Tremain sign a Declaration of Principles while meeting at the National Targeting Center in Herndon, Va., Feb. 25, 2016. (U.S. Customs and Border Protection Photo by Glenn Fawcett)
Inspired by the Generation Equality Forum’s principles of feminist leadership, intergenerational solidarity, and meaningful youth engagement, the Con Alma Special Performance at the United Nations represents a unique opportunity to celebrate the power of activism, solidarity, resilience building, and leadership that many women and youth-led networks and movements demonstrated around the world while the COVID-19 pandemic challenged humanity. The concert will also raise awareness about 2023 marking the midpoint of the Generation Equality journey and call for accelerated ambition and commitment.
14 March 2023, Trusteeship Council Chamber, UN Headquarters, New York
Photo: UN Women/Ryan Brown
Seaside is an unincorporated master-planned community on the Florida Panhandle in Walton County, between Panama City Beach and Destin. One of the first communities in America designed on the principles of New Urbanism, the town has become the topic of slide lectures in architectural schools and in housing-industry magazines, and is visited by design professionals from all over the United States. On April 18, 2012, the American Institute of Architects's Florida Chapter placed the community on its list of Florida Architecture: 100 Years. 100 Places as the Seaside – New Urbanism Township.
Beach of Seaside
The idea behind Seaside came in 1946, when the grandfather of future founder Robert S. Davis bought 80 acres (32 ha) of land along the shore of Northwest Florida as a summer retreat for his family. In 1978 Davis inherited the parcel from his grandfather, and aimed to transform it into an old-fashioned beach town, with traditional wood-framed cottages of the Florida Panhandle. Davis, his wife Daryl and, the architectural partners and Driehaus Prize winners, Andrés Duany and Elizabeth Plater-Zyberk of Duany Plater-Zyberk & Company toured the south studying small towns as a basis for planning Seaside. The final plan was complete around 1985. The town was used as the main filming location of the 1998 film The Truman Show.
Seaside is located along County Road 30A immediately adjacent to the Gulf of Mexico. Via County Road 30A, Rosemary Beach is 8 mi (13 km) to the southeast, and Miramar Beach is 16 mi (26 km) to the northwest (via County Road 30A to US 98).
Seaside is one of three planned communities on Florida's Gulf coast designed by Andrés Duany and Elizabeth Plater-Zyberk. The other two are Rosemary Beach and Alys Beach. The three are examples of a style of urban planning known as New Urbanism. As Seaside is privately owned, no other municipal governments had planning jurisdiction over Seaside, and therefore the developers were able to write their own zoning codes. Seaside's commercial hub is located at the town center. The streets are designed in a radiating street pattern with pedestrian alleys and open spaces located throughout the town. There is a mix of uses and residential types throughout the community.
Individual housing units in Seaside are required to be different from other buildings, with designs ranging from styles such as Victorian, New Classical, Modern, Postmodern, and Deconstructivism. Seaside includes buildings by architects such as Léon Krier, Robert A. M. Stern, Steven Holl, Machado and Silvetti Associates, Deborah Berke, Gordon Burns & Associates, Thomas Christ, Walter Chatham, Daniel Solomon, Ronnie Holstead, Jeff Margaretten, Alex Gorlin, Aldo Rossi, Michael McDonough, Samuel Mockbee, David Mohney, Steve Badanes, Walker Candler, and David Coleman. Another Driehaus Prize winner, the architect Scott Merrill designed the Seaside Chapel, an interfaith chapel and local landmark.
Seaside has no private front lawns, and only native plants are used in front yards.
Listed 9/3/2019
Millbrook, New York
Reference number: 100004333
Innisfree is a public garden of approximately 200 acres, blending Japanese, Chinese, Modern, and ecological design principles in Millbrook, a rural area roughly in the center of Dutchess County, New York. Innisfree’s distinctive sloping, rocky landscape, which forms the literal and visual foundation for the garden, is set within a natural bowl wrapping around the 40-acre Tyrrel Lake. This bowl, with no other signs of human intervention visible beyond the garden, creates a profound sense of intimacy and privacy at Innisfree that is one of its defining characteristics. A product of postwar ideas in American landscape architecture, Innisfree merges the essence of Modernist and Romantic ideas with traditional Chinese and Japanese garden design principles in a form that evolved through subtle, sculptural handling of the site and slow, science-based manipulation of its ecology. The result is a distinctly American stroll garden organized around placemaking techniques used in ancient Chinese villa gardens and described as “cup gardens.”
Innisfree, one of the largest intact modern designed landscapes in America, is the masterwork of Lester Collins (1914-1993), a seminal figure in American twentieth century landscape architecture. Lester Collins, fellow of the American Society of Landscape Architects, was one of the most sought-after designers and influential educators of his generation. Innisfree’s design reflects the philosophies and practices that guided Collins’s approach throughout his career, integrates innovative, sometimes truly groundbreaking horticultural and environmental engineering practices, and embodies the distinctive characteristics of postwar Modernist landscape architecture.
Innisfree began as the private estate of Walter and Marion Beck, who started initial work on the garden during the early 1930s. Starting in 1938, they continued its development in collaboration with and under the direction of Lester Collins. In 1960, following the deaths of the Becks and pursuant to their wishes, Collins transformed Innisfree from a private estate garden into a substantially larger, more nuanced public garden. He ran the public
garden while continuing to gradually develop and transform the landscape until his death in 1993.
Innisfree demonstrates Collins’s focus on the experience of people in the landscape; his ability to respond adroitly to the particularities of site and program; his approach and aesthetics as a Modernist; his scholarly understanding of landscape history, particularly of Romantic, Chinese, and Japanese gardens; and his innovative use of scientific and engineering principles to develop an environmentally and economically sustainable landscape. Innisfree has long been a mecca for designers from all over the world and it is now attracting similar attention from the global horticultural
community.
The primary features of Innisfree’s design are its principal cup gardens (loosely understood as garden rooms), Tyrrel Lake, and the Lake Path. Collins used the unifying features of the lake and lake path to integrate the many cup gardens into one dynamic experience in the natural landscape. The cup gardens vary in form, scale, and materials. One is an organically shaped meadow bisected by a wildly meandering stream and dotted with sculptural rocks and specimen trees. Another is a bog garden that has been carefully but lightly managed so that a new plant community emerged to play a particular aesthetic role. One more still is an elaborate complex of rock terraces stepping down a slope, each with its own vocabulary of design, materials, and mood.
Throughout the garden, there are themes and motifs that recur in varied forms. There is a dynamic tension between what appears to be natural and what appears to be cultivated. At a macro scale, this is evidenced by the entirety of the garden itself emerging from apparent wooded wilderness. Undulating, almost surreal natural topography is echoed in the rounded forms of clipped trees and constructed berms. Tall, straight pine trunks are mirrored in a 60’ high fountain jet. Naturalistic bogs are discreetly cultivated while areas that look like traditional planted beds are allowed to evolve and change like native plant communities.
While there are some exceptional horticultural specimens at Innisfree, the vast majority of the plants are native or naturalized. Instead of labor-intensive maintenance to strictly adhere to a fixed planting plan, plants are encouraged to find locations where they thrive just as they do in the wild and then gently edited for aesthetics. Sometimes this is achieved simply by allowing plants to self-sow; sometimes by sowing seed or moving plants in from elsewhere on site to increase a successful population; sometimes by limited hybridization to develop strains that are more ideally suited to specific local conditions. As a result, the overall plantings at Innisfree have an unstudied visual character punctuated by a handful of carefully placed, carefully sculpted trees.
There is also a deliberate choreographing of human perceptual experiences throughout Innisfree. Collins paid particular attention to these ideas. Scale ranges from massive to intimate. Spaces are open and bright, or tight and shadowy. Surfaces vary in material, texture, slope, and sound. Water changes form, scale, and sound. Design and planting details are dense or spare.
Another important motif at Innisfree is sculptural landforms. Collins began to clear trees to reveal the undulating glacial landforms. Collins felt that “land shapes, both natural and man-made…separate but also knit together sequences of cup gardens. Just like the sculptural rocks, these land forms are permanent design features in the garden, for they do not grow and their health is not subject to vagaries.” In the 1970s and early 1980s, Collins created dramatic berms in the garden to echo and emphasize the natural landforms.
In the nearly 70 years since Innisfree opened to the public, the garden has delighted and captured the imagination of experts and non-experts alike. Garden lovers, landscape writers and critics have sought to capture the unique aesthetic qualities and unusual design sophistication of Innisfree in various descriptive terms.
National Register of Historic Places Homepage
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
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Communicating at Work Principles and Practices for Business and the Professions
Haveli is generic term used for a traditional townhouse and mansions in India, Pakistan, Nepal and Bangladesh usually one with historical and architectural significance. The word haveli is derived from Arabic haveli, meaning "an enclosed place" or "private space" popularised under Mughal Empire and was devoid of any architectural affiliations. Later, the word haveli came to be used as generic term for various styles of regional mansions, townhouse and temples found in India, Pakistan, Nepal and Bangaldesh.
HISTORY
The traditional courtyard homes in South Asia is built on the ancient principles of Vastu Shastra. which state that all spaces emerge from a single point, that is the centre of the house. Courtyards are common feature in south asian architecture. The earliest archaeological evidence of courtyard homes in the region dates back to 2600–2450 BCE. Traditional homes in South Asia are built around courtyard and all family activities revolved around chowk or courtyard. Additionally, the courtyard serves as a light well and an effective ventilation strategy for hot and dry climates of South Asia. During medieval period, the term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat under the Mughal Empire and Rajputana kingdoms. Later, the generic term haveli eventually came to be identified with townhouse and mansions of the merchant class.
CHARACTERISTIC
Socio-Cultural Aspects: The chowk or courtyard served as the centre for various ceremonies and the rituals. The sacred tulsi plant was placed here and worshipped daily to bring prosperity to the house.
Security and Privacy: The chowk, at times, separated areas for men and women, and provided them with privacy.
Climate: Treating open space in building design to respond to the local climate. Air movement caused by temperature differences is utilized in the natural ventilation of building.
Different Activities At Different Times: The use of the court in the day time, mostly by women to carry out their work, interact with other women in private open space. Mansions of merchant class had more than one courtyard.
Articulation Of Space: In Mor chowk, City Palace, Udaipur, there is the concept of courtyard as a dancing hall. Similarly, in havelis, a courtyard has several functions, commonly used for weddings and festive occasions.
Materials : Fired bricks, sandstone, marble, wood, plaster and granite are commonly used materials. Decorative aspects are influenced by local culture and traditions.
All these elements join to form an enclosure and give the chowk a composed secured feel. The architectural built form of havelis has evolved in response to the climate, lifestyle and availability of material. In hot climates where cooling is a necessity, buildings with internal courtyards were considered the most appropriate. It acted as a perfect shading technique, while also allowing light inside. The arcade along the court, or the high wall around it, kept the interiors cool.
Many of the havelis of India and Pakistan were influenced by Rajasthani architecture. They usually contain a courtyard often with a fountain in the centre. The old cities of Agra, Lucknow and Delhi in India and Lahore, Multan, Peshawar, Hyderabad in Pakistan have many fine examples of Rajasthani-style havelis.
FAMOUS HAVELIS IN INDIA
The term Haveli was first applied in Rajputana by the Vaishnava sect to refer to their temples in Gujarat. In the northern part of India. havelis for Lord Krishna are prevalent with huge mansion like constructions. The havelis are noted for their frescoes depicting images of gods, goddesses, animals, scenes from the British colonization, and the life stories of Lords Rama and Krishna. The music here was known as Haveli Sangeet.
Later on these temple architectures and frescoes were imitated while building huge individual mansions and now the word is popularly recognized with the mansions themselves. Between 1830 and 1930, Marwari's erected buildings in their homeland, Shekhawati and Marwar. These buildings were called havelis. The Marwaris commissioned artists to paint those buildings which were heavily influenced by the Mughal architecture.
The havelis were status symbols for the Marwaris as well as homes for their extended families, providing security and comfort in seclusion from the outside world. The havelis were to be closed from all sides with one large main gate.
The typical havelis in Shekhawati consisted of two courtyards - an outer one for the men which serves as an extended threshold, and the inner one, the domain of the women. The largest havelis could have up to three or four courtyards and were two to three stories high. Most of the havelis are empty nowadays or are maintained by a watchman (typically an old man). While many others have been converted into hotels and places of tourist attraction.
FAMOUS HAVELI IN MAWAR AREA (SIKAR DISTRICT)
"Nadine Le Prince Haveli"
FAMOUS HAVELI IN MAWAR AREA (JODHPUR DIVISION) Havelli Heritage, Ahore
The towns and villages of Shekhawati are famous for the embellished frescoes on the walls of their grandiose havelis, to the point of becoming popular tourist attractions.
The havelis in and around Jaisalmer Fort(also known as the Golden Fort), situated in Jaisalmer, Rajasthan, of which the three most impressive are Patwon Ki Haveli, Salim Singh Ki Haveli, and Nathmal-Ki Haveli, deserve special mention. These were the elaborate homes of Jaisalmer's rich merchants. The ostentatious carvings etched out in sandstone with infinite detail and then painstakingly pieced together in different patterns each more lavish than the next were commissioned to put on show the owner's status and wealth. Around Jaisalmer, they are typically carved from yellow sandstone. They are often characterized by wall paintings, frescoes, jharokhas (balconies) and archways.
The Patwon Ji ki Haveli is the most important and the largest haveli, as it was the first erected in Jaisalmer. It is not a single haveli but a cluster of 5 small havelis. The first in the row is also the most popular, and is also known as Kothari's Patwa Haveli. The first among these was commissioned and constructed in the year 1805 by Guman Chand Patwa, then a rich trader of jewellery and fine brocades, and is the biggest and the most ostentatious. Patwa was a rich man and a renowned trader of his time and he could afford and thus order the construction of separate stories for each of his 5 sons. These were completed in the span of 50 years. All five houses were constructed in the first 60 years of the 19th century. Patwon Ji Ki is renowned for its ornate wall paintings, intricate yellow sandstone-carved jharokhas (balconies), gateways and archways. Although the building itself is made from yellow sandstone, the main gateway is brown.
FAMOUS HAVELIS OF PAKISTAN
There are a number of historically and architecturally significant havelis in Pakistan, most of which are situated in the Punjab province and constructed during the Mughal period.
Below is a list of some of the historically and architecturally significant havelis in Pakistan:
Kapoor Haveli in Peshawar
Fakir Khana Haveli and Museum, in Lahore
Mubarak Haveli in Lahore
Haveli Asif Jah in Lahore
Haveli Wajid Ali Shah in Lahore
Choona Mandi Haveli in Lahore
Haveli Nau Nihal Singh in Lahore
Haveli Barood Khana in Lahore
Lal Haveli or Chandu Di Haveli in Lahore
Haveli Man Singh in Jhelum
Lal Haveli in Rawalpindi
Saad Manzil in Kamalia
Khan Club in Peshawar
Waziristan Haveli in Abbottabad, home of Osama bin laden
Janjua Haveli in Malowal, Gujrat, Pakistan
Haveli Mubashar Ali Janjua, in Matore, Kahuta, Rawalpindi
HAVELIS IN POPULAR CULTURE
Haveli is an also a novel by Suzanne Fisher Staples and is a sequel to her Newbery Award-winning novel Shabanu: Daughter of the Wind. The story takes place in an old-fashioned haveli in Lahore, Pakistan.
WIKIPEDIA
Fatehpur Sikri (Hindi: फ़तेहपुर सीकरी, Urdu: فتحپور سیکری) is a city and a municipal board in Agra district in the state of Uttar Pradesh, India. The city was founded in 1569 by the Mughal emperor Akbar, and served as the capital of the Mughal Empire from 1571 to 1585. After his military victories over Chittor and Ranthambore, Akbar decided to shift his capital from Agra to a new location 37 km WSW on the Sikri ridge, to honor the Sufi saint Salim Chishti. Here he commenced the construction of a planned walled city which took the next fifteen years in planning and construction of a series of royal palaces, harem, courts, a mosque, private quarters and other utility buildings. He named the city, Fatehabad, with Fateh, a word of Arabic origin in Persian, meaning "victorious." it was later called Fatehpur Sikri. It is at Fatehpur Sikri that the legends of Akbar and his famed courtiers, the nine jewels or Navaratnas, were born. Fatehpur Sikri is one of the best preserved collections of Indian Mughal architecture in India.
According to contemporary historians, Akbar took a great interest in the building of Fatehpur Sikri and probably also dictated its architectural style. Seeking to revive the splendours of Persian court ceremonial made famous by his ancestor Timur, Akbar planned the complex on Persian principles. But the influences of his adopted land came through in the typically Indian embellishments. The easy availability of sandstone in the neighbouring areas of Fatehpur Sikri, also meant that all the buildings here were made of the red stone. The imperial Palace complex consists of a number of independent pavilions arranged in formal geometry on a piece of level ground, a pattern derived from Arab and central Asian tent encampments. In its entirety, the monuments at Fatehpur Sikri thus reflect the genius of Akbar in assimilating diverse regional architectural influences within a holistic style that was uniquely his own.
The Imperial complex was abandoned in 1585, shortly after its completion, due to paucity of water and its proximity with the Rajputana areas in the North-West, which were increasingly in turmoil. Thus the capital was shifted to Lahore so that Akbar could have a base in the less stable part of the empire, before moving back to Agra in 1598, where he had begun his reign as he shifted his focus to Deccan. In fact, he never returned to the city except for a brief period in 1601. In later Mughal history it was occupied for a short while by Mughal emperor, Muhammad Shah (r. 1719 -1748), and his regent, Sayyid Hussain Ali Khan Barha, one of the Syed Brothers, was murdered here in 1720. Today much of the imperial complex which spread over nearly two mile long and one mile wide area is largely intact and resembles a ghost town. It is still surrounded by a five mile long wall built during its original construction, on three sides. However apart from the imperial buildings complex few other buildings stand in the area, which is mostly barren, except of ruins of the bazaars of the old city near the Naubat Khana, the 'drum-house' entrance at Agra Road. The modern town lies at the western end of the complex, which was a municipality from 1865 to 1904, and later made a "notified area", and in 1901 had a population of 7,147. For a long time it was still known for its masons and stone carvers, though in Akbar time it was known and 'fabrics of hair' and 'silk-spinning'. The village of Sikri still exists nearby.
ARCHITECTURE OF FATEHPUR SIKRI
Fatehpur Sikri sits on rocky ridge, 3 kilometres in length and 1 km wide, and palace city is surrounded by a 6 km wall on three side with the fourth being a lake at the time. Its architect was Tuhir Das and Dhruv Chawla and was constructed using Indian principles. The buildings of Fatehpur Sikri show a synthesis of various regional schools of architectural craftsmanship such as Gujarat and Bengal. This was because indigenous craftsmen were used for the construction of the buildings. Influences from Hindu and Jain architecture are seen hand in hand with Islamic elements. The building material used in all the buildings at Fatehpur Sikri, palace-city complex, is the locally quarried red sandstone, known as 'Sikri sandstone'. It is accessed through gates along the five-mile long fort wall, namely, Delhi Gate, the Lal Gate, the Agra Gate, Birbal's Gate, Chandanpal Gate, The Gwalior Gate, the Tehra Gate, the Chor Gate and the Ajmere Gate.
Some of the important buildings in this city, both religious and secular are:
Buland Darwaza: Set into the south wall of congregational mosque, the Jama Masjid at Fatehpur Sikri, this stupendous piece of architecture is 55 metre high, from the outside, gradually making a transition to a human scale in the inside. The gate was added some five years later after the completion of the mosque ca. 1576-1577 as an 'victory arch', to commemorate the Akbar's successful Gujarat campaign. It carries two inscriptions in the archway, one of which reads: "Isa, Son of Mariam said: The world is a bridge, pass over it, but build no houses on it. He who hopes for an hour may hope for eternity. The world endures but an hour. Spend it in prayer, for the rest is unseen".
The central portico comprises three arched entrances, with the largest one, in the centre, is known locally as the Horseshoe Gate, after the custom of nailing horseshoes to its large wooden doors for luck. Outside the giant steps of the Buland Darwaza to left is deep well.
Jama Masjid: It is a Jama Mosque meaning the congregational mosque, and was perhaps one of the first buildings to come up in the complex, as its epigraph gives AH 979 (AD 1571-72) as the date of its completion, with a massive entrance to the courtyard, the Buland-Darwaza added some five years later. It was built in the manner of Indian mosques, with iwans around a central courtyard. A distinguishing feature is the row of chhatri over the sanctuary. There are three mihrabs in each of the seven bays, while the large central mihrab is covered by a dome, it is decorated with white marble inlay, in geometric patterns.
Tomb of Salim Chishti: A white marble encased tomb of the Sufi saint, Salim Chisti (1478–1572), within the Jama Masjid's sahn, courtyard. The single-storey structure is built around a central square chamber, within which is the grave of the saint, under an ornate wooden canopy encrusted with mother-of-pearl mosaic. Surrounding it is a covered passageway for circumambulation, with carved Jalis, stone pierced screens all around with intricate geometric design, and an entrance to the south. The tomb is influenced by earlier mausolea of the early 15th century Gujarat Sultanate period. Other striking features of the tomb are white marble serpentine brackets, which support sloping eaves around the parapet.
On the left of the tomb, to the east, stands a red sandstone tomb of Islam Khan I, son of Shaikh Badruddin Chisti and grandson of Shaikh Salim Chishti, who became a general in the Mughal army in the reign of Jahangir. The tomb is topped by a dome and thirty-six small domed chattris, and contains a number of graves, some unnamed, all male descendants of Shaikh Salim Chisti.
Diwan-i-Aam : Diwan-i-Am or Hall of Public Audience, is a building typology found in many cities where the ruler meets the general public. In this case, it is a pavilion-like multi-bayed rectangular structure fronting a large open space. South west of the Diwan-i-Am and next to the Turkic Sultana's House stand Turkic Baths.
Diwan-i-Khas: the Diwan-i-Khas, or Hall of Private Audience, is a plain square building with four chhatris on the roof. However it is famous for its central pillar, which has a square base and an octagonal shaft, both carved with bands of geometric and floral designs, further its thirty-six serpentine brackets support a circular platform for Akbar, which is connected to each corner of the building on the first floor, by four stone walkways. It is here that Akbar had representatives of different religions discuss their faiths and gave private audience.
Ibadat Khana: (House of Worship) was a meeting house built in 1575 CE by the Mughal Emperor Akbar, where the foundations of a new Syncretistic faith, Din-e-Ilahi were laid by Akbar.
Anup Talao: A ornamental pool with a central platform and four bridges leading up to it. Some of the important buildings of the royal enclave are surround by it including, Khwabgah (House of Dreams) Akbar's residence, Panch Mahal, a five-storey palace, Diwan-i-Khas (Hall of Private Audience), Ankh Michauli and the Astrologer's Seat, in the south-west corner of the Pachisi Court.
Hujra-i-Anup Talao: Said to be the residence of Akbar's Muslim wife, although this is disputed due to its small size.
Mariam-uz-Zamani's Palace: The building of Akbar's Rajput wives, including Mariam-uz-Zamani, shows Gujarati influence and is built around a courtyard, with special care being taken to ensure privacy.
Naubat Khana: Also known as Naqqar Khana meaning a drum house, where musician used drums to announce the arrival of the Emperor. It is situated ahead of the Hathi Pol Gate or the Elephant Gate, the south entrance to the complex, suggesting that it was the imperial entrance.
Pachisi Court: A square marked out as a large board game, the precursor to modern day Ludo game where people served as the playing pieces.
Panch Mahal: A five-storied palatial structure, with the tiers gradually diminishing in size, till the final one, which is a single large-domed chhatri. Originally pierced stone screens faced the façade, and probably sub-divided the interior as well, suggesting it was built for the ladies of the court. The floors are supported by intricately carved columns on each level, totalling to 176 columns in all.
Birbal's House: The house of Akbar's favorite minister, who was a Hindu. Notable features of the building are the horizontal sloping sunshades or chajjas and the brackets which support them.
Recent excavation done by ASI in 2000 led to unearthing of an ancient jain city very near to the fort complex.
Other buildings included Taksal (mint), 'Daftar Khana (Records Office), Karkhanas (royal workshop), Khazana (treasury), Turkic styled Baths, Darogha's Quarters, stables, Caravan sarai, Hakim's quarters etc.
DEMOGRAPHICS
Fatehpur Sikri has a population of 28,757. Males constitute 53% of the population and females 47%. Fatehpur Sikri has an average literacy rate of 46%, lower than the national average of 74%: male literacy is 57%, and female literacy is 34%. In Fatehpur Sikri, 59% of the population is under 6 years of age.
ADMINISTRATIVE ESTABLISHMENT
Fatehpur Sikri is one of the fifteen Block headquarters in the Agra district it has 52 Gram panchayats (Village Panchayat) under it.
The Fatehpur Sikri, is a constituency of the Lok Sabha, Lower house of the Indian Parliament, and further comprises five Vidhan Sabha (legislative assembly) segments:
Agra Rural
Fatehpur Sikri
Kheragarh
Fatehabad
Bah
In all there are 12 villages of Sisodia Rajputs near Fatehpur Sikri fort in Agra district. These are Daultabad, Nayavas, Satha, korai, Behrawati, Byara, Undera, Kachora, Singarpur, Vidyapur, Onera, Arrua.
TRANSPORT
Fatehpur Sikri is about 39 km. from Agra. The nearest Airport is the Agra Airport (also known as Kheria Airport), 40 km from Fatehpur Sikri. The nearest railway station is the Fatehpur Sikri Railway Station, about one km. from the city centre . It is suitably connected to Agra and neighbouring centres by road, where regular bus services of UPSRTC ply, apart from Tourist buses and taxies.
WIKIPEDIA
The 13 principles of faith
Main article: Jewish principles of faith
In his commentary on the Mishnah (tractate Sanhedrin, chapter 10), Maimonides formulates his "13 principles of faith". They summarized what he viewed as the required beliefs of Judaism:
The existence of God
God's unity and indivisibility into elements
God's spirituality and incorporeality
God's eternity
God alone should be the object of worship
Revelation through God's prophets
The preeminence of Moses among the prophets
The Torah that we have today is the one dictated to Moses by God
The Torah given by Moses will not be replaced and that nothing may be added or removed from it
God's awareness of human actions
Reward of good and punishment of evil
The coming of the Jewish Messiah
The resurrection of the dead
Maimonides compiled the principles from various Talmudic sources. These principles were controversial when first proposed, evoking criticism by Rabbi Hasdai Crescas and Rabbi Joseph Albo, and were effectively ignored by much of the Jewish community for the next few centuries. ("Dogma in Medieval Jewish Thought," Menachem Kellner). However, these principles have become widely held; today, Orthodox Judaism holds these beliefs to be obligatory.[citation needed] Two poetic restatements of these principles (Ani Ma'amin and Yigdal) eventually became canonized in the "Siddur" (Jewish prayer book).
Inspired by the Generation Equality Forum’s principles of feminist leadership, intergenerational solidarity, and meaningful youth engagement, the Con Alma Special Performance at the United Nations represents a unique opportunity to celebrate the power of activism, solidarity, resilience building, and leadership that many women and youth-led networks and movements demonstrated around the world while the COVID-19 pandemic challenged humanity. The concert will also raise awareness about 2023 marking the midpoint of the Generation Equality journey and call for accelerated ambition and commitment.
14 March 2023, Trusteeship Council Chamber, UN Headquarters, New York
Photo: UN Women/Ryan Brown
New book! Epic Landscape Photography: The Principles of Fine Art Nature Photography!
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Working on a couple photography books! 45EPIC GODDESS PHOTOGRAPHY: A classic guide to exalting the archetypal woman. And 45EPIC Fine Art Landscape Photography!
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Greetings all! I have been busy finishing a few books on photography, while traveling all over--to Zion and the Sierras--shooting fall colors. Please see some here: facebook.com/mcgucken
Let me know in the comments if you would like a free review copy of one of my photography books! :)
Titles include:
The Tao of Epic Landscape Photography: Exalt Fine Art with the Yin-Yang Wisdom of Lao Tzu's Tao Te Ching!
The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography
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And I am also working on a book on photographing the goddesses! :) More goddesses soon!
Best wishes on your epic hero's odyssey!:)
I love voyaging forth into nature to contemplate poetry, physics, the golden ratio, and the Tao te Ching! What's your favorite epic poetry reflecting epic landscapes? I recently finished a book titled Epic Poetry for Epic Landscape Photographers:
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Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
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Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
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