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Putna Monastery - Suceava County - Romania
Wall decorations
The Putna monastery (Romanian: Mănăstirea Putna) is a Romanian Orthodox monastery, one of the most important cultural, religious and artistic centers established in medieval Moldavia; as with many others, it was built and dedicated by Prince Stephen the Great. Putna was founded on the lands perambulated by the Putna (which has its source in the Obcina Mare mountains, Bukovina). Stephen the Great is famous for building and influencing the building of dozens of churches and monasteries all over Moldavia (allegedly, he founded a religious edifice after each important military victory). The Putna Monastery houses the tombs of Stephen —nowadays, a place of pilgrimage —, and several of his family members. The icon veils and tombstones are held as fine examples of Moldavian art in Stephen the Great’s time.
en.wikipedia.org/wiki/Putna_Monastery
Interesting to read:
An important school of copiers and miniaturists functioned within the monastery. There were copied and decorated religious texts, and during the 10th and the 16th centuries an elementary school and a medium school functioned here, where the chronicle writers and the clergy of Moldavia were formed.
The Moldavian embroidery is one of the most original creations of Romanian mediaeval art. The icon waves and the tomb covers are evidence of the creative spirit of the Moldavian artists of Stephen the Great’s time. The Putna Monastery can be proud of the rich collection of priests clothes, most of them forming a true gallery of portraits. Among the most original pieces, there are the priests clothes with prophets given to the monastery by Stephen the Great. It dates from 1490, and presents the twelve prophets. The tombstone of Maria of Mangop, the descendant of the Paleologs, is of undoubted value, too.
sites.google.com/site/naturezoterik/monastery/putna-monas...
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
Detail of the lower half of the west window depicting the Last Judgement. The Last Judgement is Fairford's most celebrated window for its dramatic composition and graphic depiction of the horrors of hell in the lower half. The window sadly suffered badly during the great storm of 1703 with the upper half depicting Christ in Judgement and the surrounding company of saints and angels the most seriously affected part.
The lower half depicts Archangel Michael at the centre with the elect entering Heaven to the left and the damned being condemned to Hell on the right. This depiction of Hell is renowned for its exotic demons dragging their victims to the red glow of hellfire, culminating in the monstrous soul-devouring figure of Satan seated in the bottom right hand corner.
St Mary's at Fairford is justly famous, not only as a most beautiful building architecturally but for the survival of its complete set of late medieval stained glass, a unique survival in an English parish church. No other church has resisted the waves of iconoclasm unleashed by the Reformation and the English Civil War like Fairford has, and as a result we can experience a pre-Reformation iconographic scheme in glass in its entirety. At most churches one is lucky to find mere fragments of the original glazing and even one complete window is an exceptional survival, thus a full set of 28 of them here in a more or less intact state makes Fairford church uniquely precious.
The exterior already promises great things, this is a handsome late 15th century building entirely rebuilt in Perpendicular style and dedicated in 1497. The benefactor was lord of the manor John Tame, a wealthy wool merchant whose son Edmund later continued the family's legacy in donating the glass. The central tower is adorned with much carving including strange figures guarding the corners and a rather archaic looking relief of Christ on the western side. The nave is crowned by a fine clerestorey whilst the aisles below form a gallery of large windows that seem to embrace the entire building without structural interruption aside from the south porch and the chancel projecting at the east end. All around are pinnacles, battlements and gargoyles, the effect is very rich and imposing for a village church.
One enters through the fan-vaulted porch and is initially met by subdued lighting within that takes a moment to adjust to but can immediately appreciate the elegant arcades and the rich glowing colours of the windows. The interior is spacious but the view east is interrupted by the tower whose panelled walls and arches frame only a glimpse of the chancel beyond. The glass was inserted between 1500-1517 and shows marked Renaissance influence, being the work of Flemish glaziers (based in Southwark) under the direction of the King's glazier Barnard Flower. The quality is thus of the highest available and suggests the Tame family had connections at court to secure such glaziers.
Entering the nave one is immediately confronted with the largest and most famous window in the church, the west window with its glorious Last Judgement, best known for its lurid depiction of the horrors of Hell with exotic demons dragging the damned to their doom. Sadly the three windows in the west wall suffered serious storm damage in 1703 and the Last Judgement suffered further during an 1860 restoration that copied rather than restored the glass in its upper half. The nave clerestories contain an intriguing scheme further emphasising the battle of Good versus Evil with a gallery of saintly figures on the south side balanced by a 'rogue's gallery' of persecutors of the faith on the darker north side, above which are fabulous demonic figures leering from the traceries.
The aisle windows form further arrays of figures in canopies with the Evangelists and prophets on the north side and the Apostles and Doctors of the Church on the south. The more narrative windows are mainly located in the eastern half of the church, starting in the north chapel with an Old Testament themed window followed by more on the life of Mary and infancy of Christ. The subject matter is usually confined to one light or a pair of them, so multiple scenes can be portrayed within a single window. The scheme continues in the east window of the chancel with its scenes of the Passion of Christ in the lower register culminating in his crucifixion above, while a smaller window to the south shows his entombment and the harrowing of Hell. The cycle continues in the south chapel where the east window shows scenes of Christ's resurrection and transfiguration whilst two further windows relate further incidents culminating in Pentecost. The final window in the sequence however is of course the Last Judgement at the west end.
The glass has been greatly valued and protected over the centuries from the ravages of history, being removed for protection during the Civil War and World War II. The windows underwent a complete conservation between 1988-2010 by the Barley Studio of York which bravely restored legibility to the windows by sensitive releading and recreating missing pieces with new work (previously these had been filled with plain glass which drew the eye and disturbed the balance of light). The most dramatic intervention was the re-ordering of the westernmost windows of the nave aisles which had been partially filled with jumbled fragments following the storm damage of 1703 but have now been returned to something closer to their original state.
It is important here not to neglect the church's other features since the glass dominates its reputation so much. The chancel also retains its original late medieval woodwork with a fine set of delicate screens dividing it from the chapels either side along with a lovely set of stalls with carved misericords. The tomb of the founder John Tame and his wife can be seen on the north side of the sanctuary with their brasses atop a tomb chest. Throughout the church a fine series of carved angel corbels supports the old oak roofs.
Fairford church is a national treasure and shouldn't be missed by anyone with a love of stained glass and medieval art. It is normally kept open for visitors and deserves more of them.
Mutianyu is possibly the second-most known section of the Great Wall after Badaling. Many heads of state have visited the Great Wall and they usually choose one of these two sections, probably for their easy access; both have cable cars ascending to the wall. For Americans reading this, President Clinton chose to see Mutianyu while Presidents Nixon and Reagan went to Badaling.
Mutianyu isn’t a long section – only a 3 kilometer hike, atop a ridge, so it’s not terribly steep (especially compared to a section like Juyongguan) – but it is quite pictureseque. It’s famous for its views of the surrounding mountains and also for its Ming Dynasty (1368-1644) watchtowers.
Getting to Mutianyu is a little cumbersome. From the heart of Beijing, you need to go to Dongzhimen Station and transfer to a bus in the long distance bus hall. It’s about an hour to an hour and a half trip northeast to Huairou County, then a private car for another 30 minutes or so to the wall. The drivers will usually wait for you as long as you don’t spend more than a few hours there. (I hiked about ¾ of the way out and back in about 3 hours, counting stops for shooting.)
Mutianyu is also a good choice because there are other sections of the wall nearby. The wild Jiankou section has basically been left untouched, and makes for extraordinary photography. As it’s also among the most dangerous sections because of its lack of upkeep, I’ll save that shoot for the spring. (Look here for a return to Badaling or Huangyaguan in winter should there be enough snow.) Other areas of the wall slightly farther out from Beijing, but also northeast of town include Simatai and Jinshanling in Miyun County and Hebei province, respectively, where I will also try to visit in the spring. Last but not least is the Huanghua section, also near Jiankou and Mutianyu.
This history of the wall – especially of the architecture – is impressive, as is its modern use as a tourist attraction/trap. The wall was built by poor Chinese or prisoners (such as the Juyongguan section, which literally translates as: “to live…criminal…(mountain) pass,” which reflects that it was built by prisoners. Many people worked to death on the construction of this massive wall.
In many sections of the wall, there is a famous quote by Chairman Mao in which he says, “You are not a man until you have visited the Great Wall of China.” (I take this tongue in cheek as this same man also encouraged Chinese to be resourceful and use the bricks of the wall as construction materials.)
The world at large seems to be rather taken with the romance and history of the wall. It seems to me that the world feels this way more than most Chinese. I’ll make that assumption based on the fact that a lot of sections of the wall are in disrepair or, in the case of the Datong section, dismantled. Also, in conversations with Chinese, most seem to have a rather nonchalant attitude towards seeing the wall and don’t think much about its historical context – including people who live close enough to travel there easily.
All in all, the wall offers many different panoramas, each section slightly different from the other, and each having a reasonably-priced admission of ~50 RMB during peak season and a little less between November and March. Outside of the Beijing area, there are also some rather notable sections of the wall (such as the eastern and western termini which end in the ocean and desert, or in Shanxi province near Datong where the bricks have all been torn down and all that remains are earthen mounds where the watchtowers once were).
As long as I live in China, I will continue to try to visit different sections of the wall to highlight some of the differences (albeit many are subtle) and to highlight that the wall has an enigmatic meaning and symbolism, contributing to the complexities of China.
What better place to spend our final few hours in Egypt than the Giza plateau, this time exploring the site by foot and visiting mastaba tombs (there are many here but only a couple can be visited) and Menkaure's pyramid, the only one of the three large pyramids we'd not entered before (the two largest we'd been inside on our first visit in 1995, this time queues for the Great Pyramid of Khufu were discouraging, and Khafre's was closed).
The Giza Pyramids need no introduction, the largest and most famous monuments of antiquity and the sole surviving of the Seven Ancient Wonders of the World.
Situated on a desert plateau to the south west of Cairo (and indeed on the very edge of the city's modern urban sprawl) the pyramids of Giza form the heart of an extensive ancient necropolis with the monumental tombs of three of Egypt's earliest Old Kingdom pharaohs marked by the vast structures. Each of the pyramids is a colossal mass of near solid masonry, without adornment and with only a few passages within each leading to burial chambers long since emptied and robbed in antiquity.
The earliest is the Great Pyramid of Khufu (sometimes referred to by the Greek title 'Cheops', or by his full pharaonic name 'Khnum-Khufu'). It is also the largest; the structure is simply enormous and remained the World's tallest building until well into the Middle Ages.
The following pyramid was built by Khafre (also called 'Khephren') and is similarly vast (often appearing in photos of the whole group as larger due to its more central position) but is significantly smaller than Khufu's monument. The smallest of the three (at around less than half the size) was built by his successor Menkaure. Both his and Khufu's monuments have much smaller satellite pyramids at their base (some in more ruinous condition) to house the tombs of their queens.
Originally all the pyramids had a smooth outer covering of white stone but this was quarried away by later generations (much of which was used for some of Cairo's greatest Islamic monuments) leaving the rough inner blocks exposed. A small section remains at the apex of Khafre's pyramid (suggestive of a snow-capped mountain) to give a sense of the original finish and overall mass.
Today the site remains the most popular in Egypt and an astonishing testament to the skill and determination of its earliest builders.
A preview image from the five new illustrated Bible stories from the Revelation section of The Brick Testament website.
Testament to the expressive power of eyebrows - they pasted strips of skin and hair on many of the models to give them recognizable countenance.
A Short Testament
Whatever harm I may have done
In all my life in all your wide creation
If I cannot repair it
I beg you to repair it,
And then there are all the wounded
The poor the deaf the lonely and the old
Whom I have roughly dismissed
As if I were not one of them.
Where I have wronged them by it
And cannot make amends
I ask you
To comfort them to overflowing,
And where there are lives I may have withered around me,
Or lives of strangers far or near
That I've destroyed in blind complicity,
And if I cannot find them
Or have no way to serve them,
Remember them. I beg you to remember them
When winter is over
And all your unimaginable promises
Burst into song on death's bare branches.
"A Short Testament" by Anne Porter
The old film camera seems very primitive compared to the modern digital cameras.
An empty box of slide film dated 2005 and an unopened box of HP5 dated 2014 prove testament to when the camera was last used.
Maybe one day....
The early 13th century Biblical window in the north choir aisle, amongst the very finest medieval windows to survive. The panels represent subjects from both Old and New Testaments; the original panels from the two lowest rows have not survived and their places have been filled by scenes from other windows of the same date (mostly from a now empty window in the north east transept).
Arguably the most important of England's cathedrals and its Mother Church, few other buildings embody the nation's history as much as this one. It also bears the distinction of being the first major example of Gothic architecture in Britain, where French masons introduced the style during the rebuilding of the choir following a major fire in the 1170s. Throughout the following centuries it became one of Europe's leading centres of pilgrimage, when thousands flocked to venerate the shrine of murdered archbishop St Thomas Becket, but brought to an abrupt end with the English Reformation, when a saint who defied a monarch was viewed with particular enmity. Though all traces of the rich shrine were destroyed, the site of Becket's martyrdom in the north transept remains a place of reverence to this day.
The cathedral is a stunning building which represents both the earliest and latest styles of English Gothic architecture, from the French inspired eastern limb and apse, to the nave, transepts and the three towers, all soaring examples of the Perpendicular style, the central tower (the 'Bell Harry') being an especially fine structure (the north-west tower was rebuilt in the 1830s as a copy of its medieval neighbour on the south side following the demolition of an earlier Norman tower, thus the present symmetry of the west façade is a relatively recent feature, originally its mismatched towers would have given it a more Continental appearance).
The earliest parts of the cathedral however are Norman, represented the easternmost chapels and transepts flanking the choir, survivors of the fire of 1174, each transept being adorned by a richly decorated miniature tower. The crypt below is the finest in the country, extending below most of the east end (with a transitional early Gothic extension to the east under the apse). Superb examples of Romanesque art can be seen in many of the crypt's sculpted capitals, and the unusually well preserved murals in St Gabriel's chapel (sadly photography is forbidden in these areas).
The cathedral contains many notable tombs and monuments of all periods from the 13th to 20th centuries, foremost amongst them being the tombs of Edward the Black Prince (with a superb bronze effigy) and King Henry IV.
It's most celebrated feature is its wonderful collection of stained glass, much of it dating back to the late 12th and early 13th centuries including a sequence of the Ancestors of Christ and the especially beautiful 'Miracle windows' in the ambulatory (relating various miracles associated with Becket's shrine). The glass is justly famous as the very finest in Britain, its deep blues and reds often compared with the famous windows of Chartres.
On the north side many of the former monastic buildings remain, with a fine late medieval cloister and a vast rectangular chapter house. The cathedral library also stands here, but was rebuilt after being destroyed by bombing in World War II; fortunately all the medieval glass in the cathedral had been removed for safe-keeping throughout the war and damage to the building was otherwise superficial.
Canterbury Cathedral put simply invites superlatives, one of the most rewarding churches anywhere and a magnificent testament to England's Christian heritage.
Testament performing their Soundwave Sideshow at the Oxford Art Factory in Sydney, Australia on the 26th of February, 2014.
Photos taken on behalf of The Music (Drum Media).
© Rohan Anderson Photography.
My creation based on the New Testament storie about Jesus Christ.
I desided to show one of the earliest stage of his life - a life in Nazarth.
Testament performing their Soundwave Sideshow at the Oxford Art Factory in Sydney, Australia on the 26th of February, 2014.
Photos taken on behalf of The Music (Drum Media).
© Rohan Anderson Photography.
Built atop Mount Macedon, the Macedon Memorial Cross was built to remember the dead of the Great War.
The cross was constructed by local landowner William Cameron, and this is why the memorial is also known as the Cameron Memorial Cross. At the cost of £10,000.00 it is constructed of Wunderlich terra cotta tiles on a steel base. William wished to honour the war dead of the Great War, whilst at the same time providing employment for local men during the Depression. The cross was dedicated by Stanley Argyle, the Victorian Premier, in March 1935. A plaque in its base reads: 'To the Glory of God and in memory of Australia's sons 1914 - 1918. "Death cannot rob them of their glory, nor time efface the memory of their gallant deeds."'
It stood for many years, and survived lightening strikes, and even the Ash Wednesday Bushfire in 1983 where photos of the time show it standing out like a white beacon against blackened trees. Yet finally by the 1990s, the internal structure was compromised so badly that it was in danger of falling down. An identical replica monument of reinforced concrete was donated by successful construction businessmen Bruno and Rino Grollo. It was unveiled by the Governor of Victoria, the Honorable Richard E. McGarvie AC in November 1995.
Today it stands proudly and strongly amid a manicured garden, surrounded by beautiful Australian bushland, a testament to the war dead of the Great War.
I spent a delightful Saturday with the Famous Flickr Five+ Group in Mount Macedon, where I have never been before. Now I have, I would very much like to go back to such a picturesque place again.
The Mount Macedon township is located east of the Mount Macedon summit, which is approximately 60 km north-west of Melbourne.
The name of Mount Macedon is apparently derived from Philip II, who ruled Macedon between 359 and 336BC. The mountain was named by Thomas Mitchell, the New South Wales Surveyor General.
Settled in the 1850s by gold miners and timber cutters, the railway arrived at the Mount Macedon township in 1861, providing a vital connection to Melbourne, and sealing the town's future as a 'hill station' resort for wealthy Melburnians escaping the summer heat in the 1870s. With the land deforested, large blocks were sold and beautiful and extensive gardens were planted around the newly built homes. The rich soil and good rainfall also made the area suitable for large orchards and plant nurseries who could send fruit and flowers back to Melbourne. Newspaper owner, David Syme, built a house, "Rosenheim" in 1869. It was acquired in 1886 for Victorian Governors to use as a country retreat, making Mount Macedon an attractive destination for the well heeled of Melbourne society. A primary school was built in Mount Macedon in 1874, and as the decades progressed, hotels, guest houses, shops, a Presbyterian Church and Church of England were built. In 1983, Mount Macedon was devastated by the Ash Wednesday Bush Fires. A large portion of the town was raised, and a number of lives were lost. However, like a phoenix from the ashes, Mount Macedon has risen and rebuilt. Today it is still a popular holiday destination, particularly during spring time when the well established gardens flourish with flowers and in autumn when the exotic trees explode in a riot of reds and yellows.
There are two Jerichos. What is often called Old Testament Jericho was already an old city in Jesus' day. The city that existed on the mound (tel) in the middle of the photo, existed in Jesus' day. This was taken out the window of the descending cable car that goes to the side of the cliff. The hills in the background are in Jordan. The people of Israel entered the land by crossing this valley.
Is15-5624--Jericho--NT--2-5x3-75
Singapore Prime Minister Lee Hsien Loong and his Malaysian counterpart Najib Razak spoke of the close ties between the two countries on 27 August 2014 as they jointly officiated at the opening of the Agrobazaar Malaysia outlet in Singapore.
The outlet, located in Sultan Gate off Beach Road, is an agricultural-based business that promotes Malaysian fruit and products to the overseas
market.
In his remarks at the ceremony, Datuk Seri Najib said the Agrobazaar was "a testament to the strong and enduring relationship" between the two countries.
"I can think of few better places than Singapore, which attracts so many international visitors, and which we share a common culinary heritage with. We may occasionally differ on terminology, but Singapore and Malaysians taste with one tongue," he said at the opening ceremony, which was attended by about 400 guests including Cabinet ministers of both countries.
"This explains why a fifth of our agro-food products - worth more than a billion US dollars - are exported to Singapore annually. And with the kind of cooperation we see here at the Agrobazaar, I am sure those numbers will continue to rise."
The 5,100 sq ft outlet serves to promote fresh Malaysian produce and is also a jumping-off point for Malaysian producers to access new international markets, Mr Najib added.
Prime Minister Najib Razak also said the the Agrobazaar is a testament to the strong and enduring relationship between Singapore and Malaysia. He explained that the Agrobazaar is a launch pad for Malaysian producers to access new international markets. "Yes, we have historic cities; yes, we have idyllic beaches and of course, we have the twin towers, but our rambutan and mangosteen, and above all - durian, really pull in the crowds," he said.
Prime Minister Lee, in his remarks, also referred to the close ties with Malaysia, and said Singapore looked forward to deepening interactions. Mr Lee said the Agrobazaar is one example of what cooperation between Singapore and Malaysia can deliver, as both countries move their ties forward. He also said the Agrobazaar is "something more than food" and reflects the close economic ties between the two countries, as well as their shared culture and long friendship.
Such close interactions can, however, result in issues arising from time to time, he said. But he likened the friendship between the two countries to a "flowering fruit tree" that will have to be "continually nurtured and tended to".
"Sometimes, we enjoy the low hanging fruit, or even wait for the durians to fall. But sometimes we have to work harder to climb the tree and pluck the coconuts from the top," he said.
"But I believe if we keep the lines of communication open, not just between the leaders, but also between ministers and senior officials and their counterparts, then we can manage anything which comes along, and this is the way to maintain and enhance mutual understanding, trust and respect, and continue to make progress on existing as well as new areas of cooperation," Mr Lee said.
"This is the way to maintain and enhance mutual understanding, trust and respect, and continue to make progress on existing and new areas of cooperation."
He said that he anticipated further deepening ties in the near future, especially with the development of the Rapid Transit System (RTS) link between Johor Bahru and Singapore, and the High Speed Rail between Kuala Lumpur and Singapore.
"This will improve the flow of goods and people across borders and draw us closer together. It will create opportunities for our peoples to mingle and to understand each other's cultures and heritages better," he said.
Mr Najib presented Prime Minister Lee with a basket of musang king durians and an oil painting of them enjoying the fruit during Mr Lee's recent visit to Malaysia.
The Agrobazaar Malaysia outlet here will feature and promote fresh fruit and agro-based produce from Malaysia. It is an initiative of its Ministry of Agriculture and Agro-Based Industry and its Federal Agricultural Marketing Authority (FAMA).
Several Singapore ministers, the Malaysian Minister of Agriculture and Agro-based Industry Datuk Seri Ismail Sabri Yaakob and the Chief Minister of Johor were also present.
Source: Straits Times, Channel News Asia and Prime Minister’s Office.
Behind the scenes during filming in Oxford for the movie Testament of Youth which is set right around the time of the First World War. Based on the memoirs of Vera Brittain who came to Oxford on a scholarship.
I used motion picture film here which has been cut down and loaded into a 35mm cassette. This is the same film stock that was used for Schindler's List as well as countless other movies. It felt very appropriate to be using motion picture film on this occasion.
Nikon FM2
Eastman Double X
ISO 240
Processed in Kodak HC110 1+31 for 6 mins.
Information on buildings and architecture
Führungen am Campus WU Leerzeile Leerzeile
University of the Future
Internationalism, innovation, diversity – the new Campus WU is the concrete realization of WU’s vision for a modern university. The fundamental principles of the new architecture reflect the values and ideas we cherish at WU.
As a public institution, WU has lived up to its responsibility of building its new campus in an economical, ecological, and socially sustainable manner. WU’s decision to locate the new campus in Vienna’s second district will redefine this area and transform it into an educational hub. We have not only constructed new buildings, but in the process we have also given concrete realization to our ideas of what the university of the future should look like. The new campus is more than just a place for academic research and teaching and learning practical skills; it is also designed to create a new space for social, cultural, and political life.
The imposing Library & Learning Center (LC), designed by the Iraqi-British architect Zaha Hadid, is a testament to the central importance of research and teaching at WU. The Library & Learning Center is surrounded by five building complexes, including the Teaching Center, which houses most of WU’s auditoriums. The Teaching Center is intended mainly for bachelor degree students, while the master degree programs are taught primarily in the individual Department buildings. The Executive Academy building is the home of continuing education and life-long learning programs. In this way, the various buildings and their functions reflect the three tiers of teaching and learning represented by the Bologna Process.
WU’s Department-based organizational structure was also a contributing factor. In the past, the various Institutes that make up the Departments were scattered across different locations. Now they have been brought together in four Department buildings, which will make life much easier for both students and faculty.
These are not the only improvements the new campus has to offer: All rooms have natural light, and the auditoriums feature state-of-the-art teaching equipment, including digital whiteboards. There are 3,000 student workplaces, three times as many as in the old buildings in Vienna’s ninth district. These workplaces are located not only in the dedicated self-study areas, but also in project rooms that can be booked by teaching staff and students alike. They cater to different needs by providing quiet spots for focused academic work as well as opportunities for work on group projects in communicationfriendly study areas.
The top priority in planning the new campus was to create an environment for WU students and staff that is conducive to productive work and communication.
Not only the buildings themselves, but also the surrounding grounds offer plenty of opportunities for communication and meeting people. 55,000 m² of Campus WU’s total 100,000 m² of floor and surface area is open, publicly accessible space. Fences or barriers would contradict our vision of an open campus.
Visitors and area residents are more than welcome at Campus WU. The campus offers not only food for thought, but also restaurants, cafés, and shops, all in a stimulating architectural environment.
As different as they may look, however, the buildings are all based on the same overall technical concept: the building infrastructure is standardized in terms of construction, energy supply, ventilation, and sanitary facilities. The entire campus has been designed in accordance with “green building” principles. Much of the required energy is obtained using geothermal energy from groundwater.
Another key feature of Campus WU is barrier-free accessibility. All auditoriums are specially equipped for people with disabilities, all areas are designed to be wheelchair accessible, and the campus also features a tactile guidance system for the visually impaired.
We have not only made sure to comply with all relevant legal guidelines, but we have also drawn on experience gained from best practice examples. WU aims to play a pioneering role – in all respects.
This image is copyright © Silvia Paveri. All right reserved. This photo must not be used under ANY circumstances without written consent.
Questa immagine è protetta da copyright © Silvia Paveri. Tutti i diritto sono riservati. L'immagine non deve essere utilizzata in nessun caso senza autorizzazione scritta dell'autore.
Vom Babylonischen Talmud zu Lassos Bußpsalmen - Das Alte Testament und sein Umfeld
Schatzkammer-Ausstellung
18. Juli bis 30. August 2013
Eine Verwendung der Bilder ist genehmigungs- und in bestimmten Fällen kostenpflichtig. Bitte wenden Sie sich an presse@bsb-muenchen.de.
Copyright, please do not use without written consent. If you would like to have use of one of my images for a publication, gallery,or otherwise please email info@shutter16.com for information on obtaining use.
Photographer: Jimmy Warsham
Restoring the Faith Media - We are boldly, authentically, and unapologetically Catholic.
Pay our website a visit! Lots of broadcasts, articles and much more.
The carving around the arch of the main west door of York Minster had deteriorated badly by the late 20th century and was thus entirelt recarved by the Minster masons in 2002.
The narrative scenes were replaced by new designs using the Old Testament as their theme (starting with a strikingly contemporary Hand of God for the Creation and following with Adam & Eve, Cain & Abel and Noah. They were designed and modelled by the sculptor Rory Young.
York Minster is England's largest medieval cathedral and almost impossible to do justice to. It has an awesome presence that cannot fail to impress.
Uniquely the cathedral was spared the ravages of the Civil War that decimated the mediecal art of most English cathedrals and churches, and thus posseses the largest collection of medieval glass in Britain throughout most of it's vast windows.
Sadly this fortune was not matched by the Minster's vulnerability to fire which has ravaged the building in 3 major outbreaks, the worst in 1829 when a madman set fire to the precious medieval furniture of the choir, destroying both it, the organ and the high vaulted ceiling of the eastern half of the church. Only 11 years after this tragedy a careless workman accidentally set fire to the nave roof, which also lost it's vault. Both roofs were rebuilt in replica, but a further fire caused by lightning strike in 1984 destroyed the south transept roof (rebuilt 4 years later).
Most medieval cathedrals were provided with stone vaulted ceilings precisely to avoid the problems suffered here, but York's builders found that building on such an unprecedentedly large scale brought limitations, thus all the Minster's high ceilings had to be built of wood in imitation of stone. An Achilles' Heel, but a beautiful one!
Helen Baillie's handwritten 'warning' in her copy of the New Testament shows how precious this miniature was to her: "Hillen Baily aught this book if I it lose and ye it find I pray you restore it to me againe & if you doe not as I say Remember of the letter day" (the "letter day" is a reference to the last judgement).
The New Testament of Our Lord and Saviour Iesus Christ. [Edinburgh: Andro Hart, 1619].
Reference: Sp Coll Euing Dc-d.26
View the catalogue online: eleanor.lib.gla.ac.uk/record=b1727491
Week 7 - Root
Bit of a play on words this one... I was going to take a photo of the standard root/root veg kinda thing. But then I thought to myself what else could root be...
Then after a few days it came to me, 'The ROOT cause of all the worlds problems'; Natural resources, in this case the coal on the post; Money, also on the post, Religion, not just Christianity but all forms of religion, and Land, the rest of the shot.
In one way or another, all the problems that we, as the human race, have had; be it war, economic crisis, tests of faith, one way or another it is to do with one or more of the above...
Think about it.... (not too much mind, don't want your head exploding! lol)