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From the New South Wales Office of Environment and Heritage website (www.environment.nsw.gov.au/heritageapp/ViewHeritageItemDe...):
History:
The railway from Wentworth Falls to Mount Victoria was opened in 1868, passing through what was to become Katoomba. The Great Western Railway was intended to initially reach Bathurst but, beyond that town, its terminus was not stated.
The station opened in 1874 as 'The Crushers'. A sandstone quarry suitable for producing ballast for the construction and maintenance of the line was developed just to the north of the line, and from 1874 The Crushers was a stopping-place for trains with quarrymen, equipment and wagons for transporting ballast. A platform was provided in 1877 close to the level-crossing keeper's cottage (demolished in 1902).
In 1881 a new timber platform and station were built, to the west of the level-crossing. The goods yard between the stations and Bathurst Road (then the Great Western Highway) was developed in 1883-4. This expansion was necessary because of Katoomba's growth in the 1880s and 1890s as a tourist and local commercial centre. The goods yard contains a valuable collection of traditional railway structures, including the 5 ton jib crane (no. T171), the goods shed 54’ x 12’ dating in part from 1881 and an unusual curved timber loading platform. There is also an office for the yard gatekeeper and for a signalman, all dating from the early 1900s.
In 1891, the 1881 station building was moved to the improved goods yard to the south. The Katoomba Times reported on 10 October 1891 that 'the old Katoomba station building is to be the goods shed, and was put into position last Wednesday (7 October 1891)', with the 1884 crane adjacent to the east. Around 1921 the goods yard was altered, the siding was realigned and the goods shed (the former station of 1881) was moved 18 metres to the east, where it still resides. The 1884 five-tonne crane was moved along with the shed to its present position.
The present island platform and building at Katoomba date from 1891 and was constructed for £6,922 (including the subway) by Quiggan and Kermode, builders. They are unusual for two reasons. Firstly, the timber building is curved and, secondly, the building design was only used in the Sydney metropolitan rail system. It is the only such building constructed outside the Central to Parramatta line. It is one of 4 such structures remaining extant from a number of stations containing Type 10 buildings including Newtown, MacDonaldtown, Ashfield, Lewisham (all demolished - possibly other examples) and Summer Hill, Homebush and Croydon (extant). Extensions to the building in the same style were carried out in 1913 for £216. Its dominant feature is the extension of the roof bearers to form awnings on both sides and the position of small ornate brackets under the awning beams, marking a transition from the use of posted verandas to cantilevered awnings. The platform was reached by the use of a pedestrian subway constructed in 1891, which were rare outside Sydney.
The other main platform building is the elevated, timber signal box, which was commissioned in 1903. The signal box contains a cam and tappet 40 lever interlocking machine that was installed in 1945. It is typical of the construction time and is similar to boxes at Mount Victoria, Newnes Junction, Lithgow Yard and Exeter.
The line was duplicated in 1902. A two-room timber building was built on the western end of the platform in 1909 for an inspector and an electrician and this building was extended in 1945 for use as a staff meal room. An 'out-of' shed completed the platform structures.
At the entrance to the Station are the ‘Progress Buildings’ which are shown on a plan as part of a new ‘Booking and Parcels Office Building’ dated 20/12/1938. The buildings are a single storey group of three shops facing south to Bathurst Road with an additional shopfront facing east to the exit from the railway station subway. The eastern most shop, 283-285 Bathurst Road, retains its original brass shopfront, albeit with some modification, and tiled piers between, the shop entries are recessed from the street with splayed shopfront reveals. The tiled and marble threshold records the name "MARX" an early Katoomba businessman who used the premises. The Progress Buildings are still owned by RailCorp and leased for private business.
The railway residence at 8 Abbotsford Rd was sold in 1964.
Why significant?
Katoomba Railway Station and Yard is of state significance as a unique railway site in NSW developed around a former ballast quarry and is significant for demonstrating Katoomba’s growth in the 1880s and 1890s as the first tourist and local commercial centre in the Blue Mountains, before the duplication of the Western line in 1902.
The 1891 station building is significant as one of few surviving timber railway station buildings known as ' Standard Eddy', designed under Commissioner Eddy, and demonstrating the introduction of island platform buildings in NSW. Katoomba station building is the only known example of this station type outside the inner city area and is unique to the other examples for its curved form along the platform. The adjacent signal box with its garden beds and planting is also an important and integral element within the station group and is a rare example of a timber on-platform signal box.
The site of the goods yard is of particular significance as it was part of the original Katoomba station precinct dating from 1878, which was used for locomotive turning and minor servicing and stabling of trains. While fulfilling a minor railway use at present for per way maintenance, it contains two relatively rare items, which are the former 1881 timber station building as its goods shed and the 1891 crane.
The station group comprises a homogenous collection of timber structures adding significance to the townscape and streetscape with direct relationships to both. Situated at the focal point of Katoomba, the station is connected visually and physically to the town's commercial heart by the pedestrian subway and landscaped surrounds. The adjacent Progress Buildings from part of the station group and contribute to the early 20th Century character of the commercial precinct of Katoomba with their largely intact shopfronts.
Updraft base featuring stacked plate structure and RFD notch. A short time later, the storm dropped several brief tornadoes. Southwest Oklahoma - March 18, 2012.
Text Copyright www.serpentinegalleries.org 2018
“Serpentine Pavilion 2018 designed by Frida Escobedo
Summary:
Architect Frida Escobedo, celebrated for dynamic projects that reactivate urban space, has been commissioned to design the Serpentine Pavilion 2018. Harnessing a subtle interplay of light, water and geometry, her atmospheric courtyard-based design draws on both the domestic architecture of Mexico and British materials and history, specifically the Prime Meridian line at London’s Royal Observatory in Greenwich.
Detail:
Escobedo (b. 1979, Mexico City) is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This pioneering commission, which began in 2000 with Zaha Hadid, has presented the first UK buildings of some of the biggest names in international architecture. In recent years, it has grown into a hotly anticipated showcase for emerging talent, from Sou Fujimoto of Japan to selgascano of Spain and Bjarke Ingels of Denmark. Serpentine Galleries Artistic Director Hans Ulrich Obrist and CEO Yana Peel selected this year’s architect, with advisors David Adjaye and Richard Rogers.
Escobedo’s Pavilion takes the form of an enclosed courtyard, comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard aligns directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, while the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials have been used in the Pavilion’s construction, chosen for their dark colours and textured surfaces. A celosia – a traditional breeze wall also common to Mexican architecture – is here composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues from within. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The curved underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor traces its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS. Building on its 2017 success, Radical Kitchen also returns to the Pavilion on selected Thursday lunchtimes, inviting community groups, artists, activists, writers and architects to form connections through food. This programme of workshops, performances and talks will address geological time, empire and movements, inspired by the ideas behind Escobedo’s Pavilion design. The Architecture Family Pack and Programme, sponsored by COS, will give children and their families the chance to explore the Serpentine Pavilion from playful and original perspectives.
"I think one needs to plan for change. Make everything more flexible in every way, so that the building become more like a palm tree and less like a completely rigid structure, because that’s the one that will fall down. Rigid things collapse. The rest can move, yes, it transforms, it may lose sections, but its spirit will remain." Frida Escobedo in an interview with The Fabulist. On the occasion of the 2018 Serpentine Pavilion, the Serpentine has partnered with Aesop to co-present a special issue of The Fabulist that explores the themes of the Serpentine’s summer season and celebrates Aesop’s support of Live Programmes at the Serpentine.
Serpentine Pavilion Architect's Statement
The design for the Serpentine Pavilion 2018 is a meeting of material and historical inspirations inseparable from the city of London itself and an idea which has been central to our practice from the beginning: the expression of time in architecture through inventive use of everyday materials and simple forms. For the Serpentine Pavilion, we have added the materials of light and shadow, reflection and refraction, turning the building into a timepiece that charts the passage of the day. “
There are eight of these things set back from the road on US 41 about ten miles north of Dunnellon FL. I think they're some kind of silage storage (grain maybe?) and quite old and also bigger than they look (If that door on structure one were open you could drive a truck into it).
Around the Habib Bank Plaza (HBL) -the pioneer of banking industry in Pakistan...!!
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An example of applying textures to Structure Synth -> SunFlow output.
You will have to modify the Structure Synth export templates to use the desired texture, e.g.:
shader {
name "shader05"
type phong
texture "texture.png"
spec { "sRGB nonlinear" 1.0 1.0 1.0 } 50
samples 4
}
(Notice Phong shading requires a light to be present in the scene)
In order to apply the texture you also need to assign UV (texture) coordinates to the polygons making up the standard box. Modify the existing box definition to the following:
object {
shader none
transform col 0.001 0 0 0 0 0.001 0 0 0 0 0.001 0 0 0 0 1
type generic-mesh
name "Box"
points 8
1 1 1
1 0 1
0 0 1
0 1 1
0 1 0
0 0 0
1 0 0
1 1 0
triangles 12
0 3 2
0 2 1
2 3 4
2 4 5
3 0 7
3 7 4
0 1 6
0 6 7
1 2 5
1 5 6
5 4 7
5 7 6
normals none
uvs facevarying
1 1 0 1 0 0
1 1 0 0 1 0
0 0 1 0 1 1
0 0 1 1 0 1
0 0 1 0 1 1
0 0 1 1 0 1
1 0 0 0 0 1
1 0 0 1 1 1
1 0 0 0 0 1
1 0 0 1 1 1
0 0 0 1 1 1
0 0 1 1 1 0
}
For the shader above, the texture image is repeated on each face of the box. If you want finer control over the orientation and position of the textures, you have to modify the UV coords above.
Older structure is central block of former Bethlem Royal Hospital, built in 1814, where the term 'bedlam' originated
_DSC6074 Anx2 Q90 0.5k-1.5k
Ho Chi Minh City, Vietnam. The Saigon Central Post Office was built in Gothic architectural style, and was part of the French Indochina structures in the early 20th century.
Rural structure ... not really sure what its purpose was ... along the Illinois River road ... west central Illinois.
To finish off the Craigellachie Tunnel set, here's a striking shot of the northern portal, looking through to the retaining wall and bridge at the southern end. In order to capture the tunnel looking as bright as it does here, I did an initial light paint around the portal, followed by taking a walk through, swinging the torch as I went. I kept going in that manner until I'd walked the bridge at the other side. Despite it being quite windy, the ferns haven't suffered as much motion blur as they have in some of the shorter exposures I took at this point.
Just as a quick recap about the UK's most northerly tunnel, it's 68 yards in length and sits on a significant ledge above the River Spey but below the A95. The lining consists of stone along the side walls and brick across the crown and the southern approach is shored up by a substantial brick retaining wall and to bridge the cliff the railway runs half way down, there's a half bridge in place. All in all, there's enough to see here to warrant a visit if you're ever passing by, although it doesn't really justify a 300 mile round trip. With that said, we did spend the day looking at various other bridges and former stations so if you plan this as only being part of your day then it's well worth a look.
Structure
In ambient solid states.
Self portrait. blog.flashfloodphoto.com
strobist
[4'x6' silver reflector] Flat on floor just right of the frame.
[Alien Bee 400 > 24'' soft box] 4' directly to the right of model, pointed at silver reflector 3/4 power.
[Alien Bee 400 > bare] In line with camera, left, pointed at a white wall, 1/16 power.
[Bowens Pulsar] Radio Triggers.
Voortrekker Monument, pretoria/tshwane
From Wikipedia, the free encyclopedia
DesignerGerard Moerdijk
MaterialGranite
Length40 metres (130 ft)
Width40 metres (130 ft)
Height40 metres (130 ft)
Beginning date1937-07-13
Opening date1949-12-16
Dedicated toVoortrekkers
The Voortrekker Monument is located just south of Pretoria in South Africa. This massive granite structure is prominently located on a hilltop, and was raised to commemorate the Voortrekkers who left the Cape Colony between 1835 and 1854.
On 8 July 2011 the Voortrekker Monument, designed by the architect Gerard Moerdijk, was declared a National Heritage Site by the South African Heritage Resource Agency.[1]
History[edit]
Wounded voortrekker at Vegkop, detail of the historical frieze
The idea to build a monument in honour of God was first discussed on 16 December 1888, when President Paul Kruger of the South African Republic attended the Day of the Covenant celebrations at Blood River in Natal. However, the movement to actually build such a monument only started in 1931 when the Sentrale Volksmonumentekomitee (SVK) (Central People's Monuments Committee) was formed to bring this idea to fruition.
Construction started on 13 July 1937 with a sod turning ceremony performed by chairman of the SVK, Advocate Ernest George Jansen, on what later became known as Monument Hill. On 16 December 1938 the cornerstone was laid by three descendants of some of the Voortrekker leaders: Mrs. J.C. Muller (granddaughter of Andries Pretorius), Mrs. K.F. Ackerman (great-granddaughter of Hendrik Potgieter) and Mrs. J.C. Preller (great-granddaughter of Piet Retief).
The Monument was inaugurated on 16 December 1949 by the then-prime minister D. F. Malan.[citation needed] The total construction cost of the Monument was about £ 360,000, most of which was contributed by the South African government.
A large amphitheatre, which seats approximately 20,000 people, was erected to the north-east of the Monument in 1949.
Main features[edit]
The Voortrekker Monument is 40 metres high, with a base of 40 metres by 40 metres.[citation needed] The building shares architectural resemblance with European monuments such the Dôme des Invalides in France and the Völkerschlachtdenkmal in Germany but also contain African influences.[2] The two main points of interest inside the building are the Historical Frieze and the Cenotaph.
South window and frieze
Historical Frieze[edit]
The main entrance of the building leads into the domed Hall of Heroes. This massive space, flanked by four huge arched windows made from yellow Belgian glass, contains the unique marble Historical Frieze which is an intrinsic part of the design of the monument. It is the biggest marble frieze in the world.[citation needed] The frieze consists of 27 bas-relief panels depicting the history of the Great Trek, but incorporating references to every day life, work methods and religious beliefs of the Voortrekkers. The set of panels illustrates key historical scenes starting from the first voortrekkers of 1835, up to the signing of the Sand River Convention in 1852. In the centre of the floor of the Hall of Heroes is a large circular opening through which the Cenotaph in the Cenotaph Hall can be viewed.
The Cenotaph
Cenotaph[edit]
The Cenotaph, situated in the centre of the Cenotaph Hall, is the central focus of the monument. In addition to being viewable from the Hall of Heroes it can also be seen from the dome at the top of the building, from where much of the interior of the monument can be viewed. Through an opening in this dome a ray of sunlight shines at twelve o'clock on 16 December annually, falling onto the centre of the Cenotaph, striking the words 'Ons vir Jou, Suid-Afrika' (Afrikaans for 'Us for you, South Africa'). The ray of light is said to symbolise God's blessing on the lives and endeavours of the Voortrekkers. 16 December 1838 was the date of the Battle of Blood River, commemorated in South Africa before 1994 as the Day of the Vow.
The Cenotaph Hall is decorated with the flags of the different Voortrekker Republics and contains wall tapestries depicting the Voortrekkers as well as several display cases with artefacts from the Great Trek. Against the northern wall of the hall is a niche with a lantern in which a flame has been kept burning ever since 1938. It was in that year that the Symbolic Ox Wagon Trek, which started in Cape Town and ended at Monument Hill where the Monument's foundation stone was laid, took place.
The wagon laager wall features 64 wagons
Other features[edit]
Visitors to the monument enter through a black wrought iron gate with an assegai (spear) motif.
After passing through the gate one finds oneself inside a big laager consisting of 64 ox-wagons made out of decorative granite. The same number of wagons were used at the Battle of Blood River to form the laager.[citation needed]
Voortrekker woman and children by Anton van Wouw
Statue of Piet Retief
At the foot of the Monument stands Anton van Wouw's bronze sculpture of a Voortrekker woman and her two children, paying homage to the strength and courage of the Voortrekker women. On both sides of this sculpture black wildebeest are chiselled into the walls of the Monument. The wildebeest symbolically depicts the dangers of Africa and their symbolic flight implies that the woman, carrier of Western civilisation, is triumphant.
On each outside corner of the Monument there is a statue, respectively representing Piet Retief, Andries Pretorius, Hendrik Potgieter and an "unknown" leader (representative of all the other Voortrekker leaders). Each statue weighs approximately 6 tons.[citation needed]
At the eastern corner of the monument, on the same level as its entrance, is the foundation stone.
Under the foundation stone is buried: A copy of the Trekker Vow on 16 December 1838. A copy of the anthem "Die Stem". A copy of the land deal between the Trekkers under Piet Retief and the Zulus under king Dingane.
German links[edit]
According to Dr Alta Steenkamp, the masonic subtext of the Völkerschlachtdenkmal is reflected in the Voortrekker Monument because the architect, Gerard Moerdijk, had used the geometric order and spatial proportions of the Völkerschlachtdenkmal.[3] This Germanisation of the Voortrekker Monument occurred, after Moerdijk's initial design had caused a public outcry in the South African press for its resemblance to an Egyptian temple.[4]:128
In Moerdijk's initial design, the monument consisted of a causeway linking two Egyptian obelisks.[3][4]:128
Finalising his design of the Voortrekker Monument, Moerdijk visited Egypt in 1936, including the Karnak Temple Complex in Thebes.[4]:105 In Thebes, the pharaoh Akhenaten, Nefertiti's husband, had erected three sun sanctuaries, including the Hwt-benben ('mansion of the Benben').
Sun disc illumination on encrypted stone.
The most prominent aspect of Moerdijk's monument is the annual mid noon sun illumination of the Benben stone, the encrypted cenotaph.
In the years preceding WWII, several Afrikaner nationalists travelled to Germany for academic, political and cultural studies. In 1928 Moerdijk visited Germany, and viewed the Amarna bust of Nefertiti on public display in Berlin.
By 1934 Chancellor Hitler had decided that Germany would not return the Amarna bust of Nefertiti to Egypt. He instead announced the intention to use the Amarna bust as the central show piece of the thousand years Third Reich, in a revitalised Berlin to be renamed Germania.[1]
Likewise Moerdijk's thousand years monument with Amarna sun symbol at its centre, became Afrikaner nationalists' centre show piece of their capital Pretoria.
Round floor opening[edit]
Looking from the sky dome downwards, 32 sun rays can be counted
Looking from the sky dome downwards, a chevron pattern on the floor of the Hall of Heroes, radiates outwards like 32 sun rays. In Moerdijk's architecture, the natural sun forms the 33rd ray through the floor opening.
Moerdijk said the chevron pattern on the floor depicts water,[5] as does the double chevron hieroglyph from the civilization of ancient Egypt.
Moerdijk stated that all roads on the terrain of building art lead back to ancient Egypt.[4]:47
Based on Moerdijk's reference to the watery floor of the Hall of Heroes, as well as his statements about ancient Egypt, the floor opening may be identified with the watery abyss, as in the creation theology of ancient African civilization. Rising out of this watery abyss, was the primeval mound, the Benben stone, to symbolize a new creation.
Religious sun ray[edit]
Gerard Moerdijk was the chief architect of 80 Protestant churches in South Africa. Moerdijk adhered to Reformed church tradition and thus his Renaissance trademark, the Greek-cross floorplan, always focused on the pulpit and preacher. In Protestant theology, the word of God is central.[4]:39,122 Moerdijk created a similar central focus in the Voortrekker Monument, but in vertical instead of horizontal plane, and in African instead of European style.
The monument's huge upper dome features Egyptian backlighting[4]:133 to simulate the sky, the heavenly abode of God. Through the dome a sun ray penetrates downwards, highlighting words on 16 December at noon.
The sky oriented words: "US FOR YOU SOUTH AFRICA", are Moerdijk's focus point. These words are taken from an anthem, Die Stem: "We will live, we will die, we for thee South-Africa". The same anthem ends: "It will be well, God reigns."
Thus the sun ray simulates a connection between the words on the Cenotaph and the heavenly abode above, a communication between God and man.
The actual sun ray itself forms a 33rd sun ray shining onto the stone in the midst of floor opening.
Heavenly vow[edit]
In Moerdijk's biblical theology, God communicates in two ways: through scripture and nature.[6] Moerdijk merges both methods, by using the sun in his simulation.
View from the garden perimeter
The Vow of the Trekkers was commemorated on 16 December as the Day of the Vow. On 16 December, the appearance of an illuminating sun disc on the wording of the Cenotaph stone, transform their meaning as per the Philosophers Stone of the alchemists.
Instead of man below making an earthly vow, the sun shifts the focus upwards to the trinitarian god of the Trekkers, as it is God who communicates through Moerdijk's sun architecture, making Himself a heavenly vow with the words: WE - as in GOD - FOR THEE SOUTH-AFRICA.
Thus God in the trinitarian tradition of the Trekkers, speaks a vow within the sun disc illuminating the words on the Cenotaph.
The Trekker belief that God was for South Africa, originates from the 9–16 December 1838 vow of Trekker leader Andries Pretorius at Blood river, who at around the same time made military and political alliances with Christian Zulus like prince Mpande.
Egyptian origin[edit]
Moerdijk was an outspoken supporter of ancient Egyptian architecture.[7]
Moerdijk referred to Africa's greatness as imparted by ancient Egyptian constructions at the inauguration of the Voortrekker Monument.[5]
Before his Voortrekker Monument proposal was accepted, Moerdijk and Anton van Wouw had been working in alliance for many years on their "dream castle" project:[8] a modern African-Egyptian Voortrekker Temple in South-Africa. Van Wouw and Frans Soff had earlier employed the Egyptian obelisk, a petrified ray of the African Aten, as central motif for the National Women's Monument in Bloemfontein, South Africa, itself likewise inaugurated on the Day of the Vow, 16 December 1913.
Whilst finalising the design of the Voortrekker Monument in 1936,[4]:105 Moerdijk went on a research trip to Egypt. There he visited the Karnak Temple Complex at Thebes,[4]:106 where an African Renaissance had flourished under Pharaoh Akhenaten, Nefertiti's husband.
The open air temples of Akhenaten to the Aten incorporated the Heliopolitan tradition of employing sun rays in architecture, as well as realistic wall reliefs or friezes.
Moerdijk also visited the Cairo Museum, where a copy of the Great Hymn to the Aten is on display, some verses of which remind of Psalm 104.
Moerdijk's wife Sylva related that he was intimately acquainted with ancient Egyptian architecture,[4]:106 and was strongly influenced architecturally by his visit to Egypt.[4]:105
Architectural purpose[edit]
Looking upwards at mid noon on 16 December reveals a dot within a circle, the ancient African-Egyptian hieroglyph for the monotheistic creator God Aten
Looking downwards from the dome
The architect, Gerard Moerdijk, stated that the purpose of a building had to be clearly visible.[4]:133 The aspect of the sun at mid-noon in Africa, was during Nefertiti's time known as Aten. In Egyptian hieroglyphics, Aten was written as a sun dot enclosed by a circle.
The Aten-hieroglyph is depicted in the Voortrekker Monument when the sun shines through an aperture in the top dome.
Likewise, looking downwards from the top dome walkway, the round floor opening is seen to encircle the sun disc illumination.
Moerdijk's message as implied by the wall frieze: by exodus out of the British Cape Colony, God created a new civilization inland.
In order to give thanks to this new creation of civilization, Moerdijk, recalling Abraham of old, outwardly designed the Voortrekker Monument as an altar.[4]:130
Monument complex[edit]
In the years following its construction, the monument complex was expanded several times and now includes:
* An indigenous garden that surrounds the monument.
*
The Wall of Remembrance dedicated to those who lost their lives while serving in the South African Defence Force.
* Fort Schanskop, a nearby fort built in 1897 by the government of the South African Republic after the Jameson Raid and now a museum.
* The Schanskop open-air amphitheatre with seating for 357 people that was officially opened on 30 January 2001.
* A garden of remembrance.
* A nature reserve was declared on 3.41 km² around the Monument in 1992. Game found on the reserve include Zebras, Blesbok, Mountain Reedbuck, Springbok and Impala.
* A Wall of Remembrance that was constructed near the Monument in 2009. It was built to commemorate the members of the South African Defence Force who died in service of their country between 1961 and 1994.
* An Afrikaner heritage centre, which was built in order to preserve the heritage of the Afrikaans-speaking portion of South Africa's population and their contribution to the history of the country.