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The Ave Maria Oratory—officially renamed the Ave Maria Catholic Church—is an architectural landmark located in the center of the planned university town of Ave Maria, Florida. It serves as the spiritual and physical heart of both the town and Ave Maria University.
Origins and History
The Vision: The building was conceived by Tom Monaghan, the founder of Domino’s Pizza and a prominent Catholic philanthropist. He originally sketched the design on a paper napkin.
Design & Dedication: Designed by Cannon Design, the building blends modern structural engineering with traditional Gothic-inspired geometry. It was officially dedicated in March 2008.
Parish Status: Originally established as an "oratory" or "quasi-parish," the Diocese of Venice in Florida purchased the structure in 2017 and upgraded it to a full parish church.
Architectural Highlights
Scale: The structure rises 10 stories high (120 feet) and seats 1,100 worshippers.
Materials: It features a distinctive exposed steel structure weighing over 1,270 tons and is clad with 50,000 square feet of acoustical stone-textured Glass Fiber Reinforced Gypsum (GRG) panels.
The Facade: The front facade features a massive, 30-foot-tall marble sculpture of the Annunciation, carved from cave onyx.
Light Concept: The design relies on a unique lighting scheme where cool, natural light floods the upper structure to symbolize heaven, while warm, golden light illuminates the lower pews to represent humanity.
Mass & Confession: Daily Mass, confession, and liturgical services are held regularly for residents and university students. You can view the live schedule directly on the Ave Maria Parish Calendar.
Tours: Free public guided tours are typically hosted seasonally between January and March following the noon Mass. Self-guided tour brochures are available at the entrance year-round, except during formal services.
Credit for the data above is given to the following website:
www.google.com/search?q=ave+maria+oratory&sca_esv=3b4...
© All Rights Reserved - you may not use this image in any form without my prior permission.
The original colour file for the black & white conversions.
This wooden structure is a remnant of sea defences at Happisburgh Norfolk.
i actually like this second image better than the first -- there are so few brick buildings around here, not sure what this would have been used for originally?
Just outside of Nice are small villages built into the mountainside. From several vantage points you can look down on the roof tops within the stone structure.
Texture: SkeletalMess.
© 2015 Mike McCall / Mike McCall Photography..
Dilapidated Commercial Structure..
Vanna (Royston), Hart County, Georgia USA.
This photo was shot from a hot air balloon.
UNESCO World Heritage Site.
From Wikipedia:
c. 15th century BC
The mortuary temple of Hatshepsut (Egyptian: Ḏsr-ḏsrw meaning "Holy of Holies") is a mortuary temple built during the reign of Pharaoh Hatshepsut of the Eighteenth Dynasty of Egypt. Located opposite the city of Luxor, it is considered to be a masterpiece of ancient architecture. Its three massive terraces rise above the desert floor and into the cliffs of Deir el-Bahari. Hatshepsut's tomb, KV20, lies inside the same massif capped by El Qurn, a pyramid for her mortuary complex. At the edge of the desert, 1 km (0.62 mi) east, connected to the complex by a causeway, lies the accompanying valley temple. Across the river Nile, the whole structure points towards the monumental Eighth Pylon, Hatshepsut's most recognizable addition to the Temple of Karnak and the site from which the procession of the Beautiful Festival of the Valley departed. Its axes identify the temple's twin functions: its central east-west axis served to receive the barque of Amun-Re at the climax of the festival, while its north-south axis represented the life cycle of the pharaoh from coronation to rebirth.
The terraced temple was constructed between Hatshepsut's seventh and twentieth regnal years, during which building plans were repeatedly modified. In its design, it was heavily influenced by the adjacent Temple of Mentuhotep II of the Eleventh Dynasty built six centuries earlier.[d] In the arrangement of its chambers and sanctuaries, though, the temple is wholly unique. The central axis, customarily reserved for the mortuary complex, is occupied instead by the sanctuary of the barque of Amun-Re, with the mortuary cult being displaced south to form the auxiliary axis with the solar cult complex to the north. Separated from the main sanctuary are shrines to Hathor and Anubis, which lie on the middle terrace. The porticoes that front the terrace here host the most notable reliefs of the temple; those of the expedition to the Land of Punt and the divine birth of Hatshepsut, the backbone of her case to rightfully occupy the throne as a member of the royal family and as godly progeny. Below, the lowest terrace leads to the causeway and the valley temple.
The state of the temple has suffered over time. Two decades after Hatshepsut's death, under the direction of Thutmose III, references to her rule were erased, usurped, or obliterated. The campaign was intense but brief, quelled after two years when Amenhotep II was enthroned. The reasons behind the proscription remain a mystery. A personal grudge appears unlikely as Thutmose III had waited twenty years to act. Perhaps the concept of a female king was anathema to ancient Egyptian society, or a dynastic dispute between the Ahmosid and Thutmosid lineages needed resolving. In the Amarna Period, the temple was incurred upon again when Akhenaten ordered the images of Egyptian gods, particularly those of Amun, to be erased. These damages were repaired subsequently under Tutankhamun, Horemheb and Ramesses II. An earthquake in the Third Intermediate Period caused further harm. During the Ptolemaic period, the sanctuary of Amun was restructured, and a new portico was built at its entrance. A Coptic monastery of Saint Phoibammon was built between the 6th and 8th centuries AD, and images of Christ were painted over original reliefs. The latest graffito left is dated to c. 1223.
The temple resurfaces in the records of the modern era in 1737 with Richard Pococke, a British traveller, who visited the site. Several visitations followed though serious excavation was not conducted until the 1850s and 60s under Auguste Mariette. The temple was fully excavated between 1893 and 1906 during an expedition of the Egypt Exploration Fund (EEF) directed by Édouard Naville. Further efforts were carried out by Herbert E. Winlock and the Metropolitan Museum of Art (MMA) from 1911 to 1936, and by Émile Baraize and the Egyptian Antiquities Service (now the Supreme Council of Antiquities (SCA)) from 1925 to 1952. Since 1961, the Polish Centre of Mediterranean Archaeology (PCMA) has carried out extensive consolidation and restoration works throughout the temple, and it was opened to the public in March 2023.
The Dade County Courthouse in Trenton, Georgia was constructed in 1926 by Barrett Construction Company from Dalton, GA. The building and land all lie within an oval shaped area in the middle of a round-about with a knee-high rock wall surrounding the entire site. As the center of local government in the small town of Trenton it is a focal point for the dissemination of political information and insures the safety of official records. This design and its site on the small square in the center of town resembles the early Carpenter Style in North Georgia as seen in other early courthouses like Dawson & White counties. The cross plan has two stories over a basement. The most interesting architectural feature is the stepped gables at each end of the building. The paired rectangular windows that encircle the structure feature one lintel per pair, of brick and stone, giving a striped effect; end voissoirs & the keystone are of white stone and emphasized. The ends of the building are emphasized by projecting square pillars and both interior chimneys remain.
For its significance to Dade County and Trenton, this beautiful courthouse was added to the National Register of Historic Places on September 18, 1980. All of the information above was found on the original nomination form that can be viewed here: npgallery.nps.gov/NRHP/AssetDetail/08e7518c-7c9d-4333-84c...
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
May 22nd, 2007 northeast of Colyier, Kansas. Mothership supercell at 10 mm. Incredible!
Prints available here:
This old stone structure is on the slopes of Slieve Meelmore, opposite Slieve Meelbeg. It is four walls made using dry stone walling techniques and has a gap for a window and no roof. There appears to be some worked stone lying around which leads us to assume it was used by stonemasons, back in the day.
Erected in 1876, this monumental Gothic Revival structure was designed by architects Joseph Lyman Silsbee and John Moore. It is one of the more imposing structures on Clinton Square, and was placed on the National Register of Historic Places in 1971.
Syracuse is the fifth largest city in the Empire State, and the county seat of Onondaga County. Home to Syracuse University, it is a center for education and science in Central New York.
The old couple don't recognize their station. The station they used to know. When they were young.
Maybe it was outdated. Maybe it was creepy.
But it was the place of their first date.
The place where the boy of the city waited for the train of his lovely girl coming from from her village before their were married.
From here, they were taking the train to go to the sea or the capital city.
Now all this is gone.
Their souvenirs are lost in this brand new alien architecture.
They look so small in this future architecture that overwhelms them.
Le vieux couple ne reconnaît pas leur gare. Celle à laquelle ils étaient habitués depuis des décennies. Celle de leur jeunesse.
L'endroit de leurs premiers rendez-vous.
Là où le jeune homme de la ville attendait, le coeur battant, le train qui emmenait la jeune villageoise.
L'endroit où ils prennaient le train en famille pour aller à la capitale ou à la mer.
Tout cela s'est enfui.
Leurs souvenirs s'égarent dans cette architecture inconnue et étrange.
Ils semblent si petits dans ces structures du futur, qui les enveloppe et les dépasse.
Liege-Guillemins Station, Belgium
Gare de Liège-Guillemins, Belgique
A Manhattan-bound (N) train is seen through the steel structure of the Astoria Line and Queensboro Bridge as it departs Queensboro Plaza station. The empty trackways above once brought BMT trains to the now-demolished half of the aforementioned station, which was once twice its current size. Additionally, the lane that now carries bicycles and pedestrians over the bridge was originally a streetcar lane for trolleys to Manhattan!