Spinner dolphins are small cetaceans with a slim build. Adults are typically 129–235 cm long and reach a body mass of 23–79 kg..

This species has an elongated rostrum and a triangular or subtriangular dorsal fin. Spinner dolphins generally have tripartite color patterns. The dorsal area is dark gray, the sides light grey, and the underside pale gray or white.

Also, a dark band runs from the eye to the flipper, bordered above by a thin, light line. However, the spinner dolphin has more geographic variation in form and coloration than other cetaceans. In the open waters of eastern Pacific, dolphins have relatively small skulls with short rostra.

This image was taken near the Harbour at Suva in Fiji.

Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic, it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.

Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.

The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards. The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.

Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.

Plymouth, Devon, England

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.

Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano (facing Bari) and the southern Sasso Caveoso (facing Montescaglioso).

The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.

Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.

Before its integration into the modern Italian state, the city of Matera had experienced the rule of the Romans, Lombards, Arabs, Byzantines, Swabians, Angevins, Aragonese, and Bourbons.

Though scholars continue to debate the date the dwellings were first occupied in Matera, and the continuity of their subsequent occupation, the area of what is now Matera is believed to have been settled since the Palaeolithic (10th millennium BC). This makes it potentially one of the oldest continually inhabited settlements in the world. Alternatively, it has been suggested by Anne Toxey that the area has been "occupied continuously for at least three millennia".

The town of Matera was founded by the Roman Lucius Caecilius Metellus in 251 BC who called it Matheola. In AD 664 Matera was conquered by the Lombards[citation needed] and became part of the Duchy of Benevento. In the 7th and 8th centuries the nearby grottos were colonised by both Benedictine and Basilian monastic institutions. After the Arab conquest of Bari in 840, Matera came under Islamic rule. Emancipated from the old Lombard jurisdiction of the gastald of Acerenza in the Principality of Salerno, the town gained regional prominence. In the spring of 867, it was burnt by the imperial troops of Louis II as the first key target in the emirate's conquest; the Chronicle of St Benedict of Monte Cassino calls it a particularly well-defended site. The Franks soon fell out with the Lombards and the Byzantines exploited the local need for protection from Arab raiding and internal Lombard divisions to retake Apulia, which became the theme of Longobardia in 891/2. Already by 887, Matera's local Lombard elite bore Byzantine titles, the monastery of San Vincenzo al Volturno had to conduct business before the Byzantine judge and town notables of Matera, and the Greeks of Matera made up the Byzantine garrison of Naples. The precarious Byzantine rule had to contend with the ambitions of Lombard towns and nobles against the background of frequent incursions from the neighbouring duchy of Capua-Benevento and from Arab Sicily. In 940 Matera was besieged, possibly with local assistance, by the Lombards. On 25 January 982 the army of Otto II camped before the walls of Matera on its way from Salerno to Taranto, ostensibly marching against the Arabs. In 994 Matera was temporarily captured by the Arabs after a four-month siege. The town continued to play a part in Byzantine governance: in June 1019 the chartoularios Stephanos of Matera assisted in the re-foundation of Troia. But civic unrest was also endemic and in 1040 the Byzantine judge Romanos was murdered at Matera by the local auxiliary troops during a wave of assaults on Byzantine officials that swept across the region. After the prominent Apulian rebels enlisted the support of the Normans and defeated the new katepano of Italy at Cannae in 1041, Matera fell within the scope of Norman incursions and struck a deal with the invaders. In retaliation for this, the next katepano Georgios Maniakes, dispatched to Italy with special powers in April 1042, carried out mass executions in Matera in June, only to launch a rebellion of his own in September. After his departure Matera elected William Iron Arm as its count (1042), but like other towns it remained in Byzantine hands despite the Norman advances – in 1054 died Sico, the protospatharios of Matera. The city was seized in April 1064 as an independent acquisition by Robert, Count of Montescaglioso, a seditious nephew of Robert Guiscard, who profited from the involvement of his uncle further south. After count Robert died in July 1080, Matera accepted the rule of his brother Geoffrey of Conversano. Geoffrey's son Alexander joined a revolt against Roger II in 1132, but he fled before the advance of the king to Byzantium and left his son Geoffrey in Matera, whose inhabitants gave the city away to avoid being massacred by the royal troops. Alexander later took part in the Byzantine invasion of Italy in 1156. Lombard aristocrats survived with a reduced status: around 1150, Guaimar (III) of Capaccio, a descendant of Lombard princes, held a sub-fief near Matera from the count of Montescaglioso. Meanwhile, after a period of association with the Byzantine metropolis of Otranto from 968, the episcopal see of Matera was reclaimed by the archbishopric of Acerenza. A new cathedral church of St Eustace was consecrated in May 1082.

After a short communal phase and a series of pestilences and earthquakes, the city became an Aragonese possession in the 15th century, and was given in fief to the barons of the Tramontano family. In 1514, however, the population rebelled against the oppression and killed Count Giovanni Carlo Tramontano. In the 17th century Matera was handed over to the Orsini and then became part of the Terra d'Otranto, in Apulia. Later it was capital of the province of Basilicata, a position it retained until 1806, when Joseph Bonaparte assigned it to Potenza.

Saint Petersburg formerly known as Petrograd (1914–1924), then Leningrad (1924–1991), is a city situated on the Neva River, at the head of the Gulf of Finland on the Baltic Sea. It is Russia's second-largest city after Moscow. With over 5.3 million inhabitants as of 2018, it is the fourth-most populous city in Europe, as well as being the northernmost city with over one million people. An important Russian port on the Baltic Sea, it has a status of a federal subject (a federal city).

In modern times, Saint Petersburg is considered the Northern Capital and serves as a home to some federal government bodies such as the Constitutional Court of Russia and the Heraldic Council of the President of the Russian Federation. It is also a seat for the National Library of Russia and a planned location for the Supreme Court of the Russian Federation. The Historic Centre of Saint Petersburg and Related Groups of Monuments constitute a UNESCO World Heritage Site, so it's also referred to as Russia's Culture Capital. Saint Petersburg is home to the Hermitage, one of the largest art museums in the world.

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

In my last trip to Arb, I was late to catch the exotic birds but here is one from the Herb Garden.

I built this thing a while back when I learned about an architectural concept called tripartite. Basically, way back in the day, they used rougher building materials near the base of the building where the peasants could touch and the facade of the building would become more refined and sleek as it rose. I figured that would translate nicely into a cyberpunk scene, and this MOC was born. It should be seen as a "slice" of a larger cityscape.

This creation was awarded with the "Small Planetary Structure" trophy at BrickCon 2015.

Mission Trails Regional Park, San Diego, CA

OLYMPUS DIGITAL CAMERA

P4270311

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.

Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.

The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.

Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.

Il pilone che conferisce il nome all'attuale chiesa venne eretto nel 1587 in onore della Vergine; ritenuto miracoloso diviene oggetto di culto dal 1644. Nel marzo del 1645 risulta già in uso una piccola cappella, meta di grande affluenza e quindi da subito trasformata nell'attuale edificio con il sostegno del cardinal Maurizio di Savoia e di Cristina di Francia. Alla duchessa si deve in particolare la realizzazione dell'altar maggiore. La chiesa a pianta centrale, è coperta da una cupola ottagona inserita in un alto tiburio e affrescata con l'allegoria della Redenzione da Bartolomeo Guidobono (ante 1707). Tutto l'edificio mantiene ancora evidenti e forti i caratteri seicenteschi della fase d'impianto, sia nell'interno ricoperto da ricchi decori opera di stuccatori lombardo-ticinesi sia nella facciata conclusa da un grande frontone curvilineo. Il fronte, organizzato in due fasce tripartite, mostra nel registro inferiore le traccie di un impianto architettonico poi disatteso, caratterizzato da lesene in pietra suddivise in ordine maggiore e minore. Il campanile viene aggiunto nel 1787.

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The pylon that gives the name to the current church was erected in 1587 in honor of the Virgin; considered miraculous, it became an object of worship from 1644. In March 1645 a small chapel was already in use, a popular destination and therefore immediately transformed into the current building with the support of Cardinal Maurizio di Savoia and Cristina of France. The construction of the high altar is in particular due to the Duchess. The church with a central plan is covered by an octagonal dome inserted in a high lantern and frescoed with the allegory of the Redemption by Bartolomeo Guidobono (before 1707). The whole building still maintains the seventeenth-century characters of the planting phase evident and strong, both in the interior covered with rich decorations by Lombard-Ticinese plasterers and in the facade ended by a large curvilinear pediment. The front, organized in two tripartite bands, shows in the lower register the traces of an architectural plan which was later disregarded, characterized by stone pilasters divided into major and minor order. The bell tower was added in 1787.

Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic, it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.

Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata (historic Lucania) to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.

The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards. The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.

Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.

House, now public house. C18 with C19 facade. Rendered with left side of red brick with tile hanging over. Plain tiled half-hipped roof with end stacks to left, and right behind. 2 storeys and garrets. Irregular fenestration of two C19 sashes on first floor-with wide segment-headed tripartite sash to left on ground- floor. Two half-glazed doors in centre under continuous deep flat hood. Included for group value only.

Looks to me like a Japanese Maple at the end of this driveway, in tripartite coloring. Sometimes the subject is strong enough to compensate for the setting. HTmT!

The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

Spinner dolphins are small cetaceans with a slim build. Adults are typically 129–235 cm long and reach a body mass of 23–79 kg..

This species has an elongated rostrum and a triangular or subtriangular dorsal fin. Spinner dolphins generally have tripartite color patterns. The dorsal area is dark gray, the sides light grey, and the underside pale gray or white.

Also, a dark band runs from the eye to the flipper, bordered above by a thin, light line. However, the spinner dolphin has more geographic variation in form and coloration than other cetaceans. In the open waters of eastern Pacific, dolphins have relatively small skulls with short rostra.

This image was taken in Moorea, French Polynesia

Matera is a city and the capital of the Province of Matera in the region of Basilicata, in Southern Italy. With a history of continuous occupation dating back to the Palaeolithic (10th millennium BC), it is renowned for its rock-cut urban core, whose twin cliffside zones are known collectively as the Sassi.

Matera lies on the right bank of the Gravina river, whose canyon forms a geological boundary between the hill country of Basilicata to the south-west and the Murgia plateau of Apulia to the north-east. The city began as a complex of cave habitations excavated in the softer limestone on the gorge's western, Lucanian face. It took advantage of two streams which flow into the ravine from a spot near the Castello Tramontano, reducing the cliff's angle of drop and leaving a defensible narrow promontory in between. The central high ground, or acropolis, supporting the city's cathedral and administrative buildings, came to be known as Civita, and the settlement districts scaling down and burrowing into the sheer rock faces as the Sassi. Of the two streambeds, called the grabiglioni, the northern hosts Sasso Barisano and the southern Sasso Caveoso.

The Sassi consist of around twelve levels spanning the height of 380 m, connected by a network of paths, stairways, and courtyards (vicinati). The medieval city clinging on to the edge of the canyon for its defence is invisible from the western approach. The tripartite urban structure of Civita and the two Sassi, relatively isolated from each other, survived until the 16th century, when the centre of public life moved outside the walls to the Piazza Sedile in the open plain (the Piano) to the west, followed by the shift of the elite residences to the Piano from the 17th century onwards. By the end of the 18th century, a physical class boundary separated the overcrowded Sassi of the peasants from the new spatial order of their social superiors in the Piano, and geographical elevation came to coincide with status more overtly than before, to the point where the two communities no longer interacted socially.

Yet it was only at the turn of the 20th century that the Sassi were declared unfit for modern habitation, and the government relocation of all their inhabitants to new housing in the Piano followed between 1952 and the 1970s. A new law in 1986 opened the path to restoration and reoccupation of the Sassi, this time – as noted by the architectural historian Anne Toxey – for the benefit of the wealthy middle class. The recognition of the Sassi, labelled la città sotterranea ("the underground city"), together with the rupestrian churches across the Gravina as a UNESCO World Heritage Site in December 1993 has assisted in attracting tourism and accelerated the reclaiming of the site. In 2019, Matera was declared a European Capital of Culture.

The General Staff Building (Russian: Здание Главного штаба, Zdanie Glavnovo Shtaba) is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire styleand built in 1819-1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

The Hartsville Historic District located in Trousdale County, Tennessee was nominated and deemed eligible for the National Register of Historic Places under criterion A for its significance to the patterns of Trousdale County's history as a late nineteenth and early twentieth century commercial center and under criterion C as a significant example of late nineteenth and early twentieth century commercial and domestic architecture in Hartsville & Trousdale County. One of the more prominent buildings located on the Northwest corner of West Main Street and Broadway is the old Bank of Hartsville built in 1901. It is a Neo-Classical two-story two-part commercial block brick building with stone pedimented door surround, tripartite windows on first floor, one-over-one double hung sash windows on second floor, and a decorative cornice and parapet. Unfortunately, at the time of my photograph, it appears that the structure was not in use. Hopefully it has been restored and/or repurposed so this great piece of history and architecture can be preserved for many, many years to come.

The Hartsville Historic District was added to the NRHP on June 24, 1993. All the information above was found on the original documents submitted for listing consideration and can be viewed here:

npgallery.nps.gov/NRHP/AssetDetail?assetID=9ca39881-5983-...

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 link below:

www.flickriver.com/photos/photojourney57/

The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

In 1874, a Presbyterian congregation formed at the Rocky Springs Academy in the small town of Boyds Creek, Tennessee. They met in the academy buildings (no longer extant) until they built their own church in 1891, as seen above. Archibald Napoleon Cardwell and his wife Sallie Cardwell gifted the parcel of land for the church to the trustees of the congregation in 1888. The congregation moved, but kept the name “Rocky Springs” to denote the location of their founding. When local carpenter Samuel Ellis finished the building in 1891, it was the first Presbyterian church building constructed in Sevier County.

While the earlier trends in church architecture had been Gothic Revival and Romanesque Revival, by the 1890's, Protestant churches were transitioning from High Victorian Gothic to the Late Gothic Revival style. However, this Folk Victorian style church is unusual in that it adopted elements of Queen Anne style architecture when most other churches in the region were utilizing the previously mentioned Gothic Revival or Romanesque Revival. Additionally, this church incorporates detailing characteristic of the half-timbered sub-type of Queen Anne style architecture. This half-timbered sub-type is characterized by decorative mock half-timbering in the gable fields and upper-story walls, and groupings of three or more windows. The church building exhibits these characteristics, particularly along its primary elevation with mock half-timbering at the apex of the gable, decorative elements above the windows, the tripartite clerestory window, and a combination of vertical, horizontal, and shingle wood wall cladding. When the TVA constructed Douglas Dam in 1940, it brought electrification to the rural community of Boyds Creek and the congregation added electricity and electrical lighting to the church. The majority of the interior lighting dates to that time. In 1959, the congregation also undertook a substantial modernization effort and installed interior plumbing with the construction of an interior bathroom (now a storage room), allowing them to abandon the exterior privy.

While the history of the congregation predates the 1891 building, the church itself has served as a community landmark since its construction. The church is also notable in that it exhibits elements of the half-timbered Queen Anne style, as interpreted by local carpenter Samuel Ellis, making it locally significant for its architectural style as well. For these reasons, Rocky Spring Presbyterian Church was added to the National Register of Historic Places (NRHP) on December 18, 2013. All of the information above was found on the original documents that were submitted for listing consideration and they can be viewed here:

npgallery.nps.gov/NRHP/AssetDetail/fa72ba36-fb7d-4862-932...

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/

Excerpt from medievalheritage.eu/en/main-page/heritage/poland/krakow-s...:

Church of St. Barbara at the beginning of the 15th century was a five-bay, orientated toward cardinal sides building, erected on a rectangular plan with dimensions of 26 x 10.7 meters, with its three-bay eastern part made up of the walls of an older chapel from the first half of the 14th century. Both the older chapel and the church from the 15th century did not have a chancel separated from the outside. Both of these buildings were also towerless, covered over the whole with gable roofs. The walls, 0.8 to 0.9 meters thick and 12.5 meters high to the cornice level, were built of bricks in a Flemish bond, while some architectural details were made of stone. At the eastern part of the northern wall there was a small, one-story sacristy, in the 15th century enlarged to the form of an annex with a residential upper floor and a gate in the ground floor.

From the outside, the walls of the church were clasped with stepped buttresses, in the corners placed at an angle. Single buttress on the axis of the west façade, between two windows, was particularly characteristic. Perhaps it was used because of the slope of the terrain, or it was related to the vault or wall faults from the inside. Interestingly, the solution with the axial buttress was repeated from the construction of the older chapel, which was basically a shorter version of the church from the beginning of the 15th century, having the same width and height. The lighting must have been different, because in the first half of the 14th century, the chapel was not yet adjacent to the buildings from the south, while the 15th-century church did not have southern windows due to the townhouses adjoined along the entire length. The eastern facade had, like the western one, two windows.

The horizontal accent of the church facades was introduced by a stone plinth and a crowning cornice, with a typical Gothic moulding with a concave and a small shaft at the bottom. In addition, just below the cornice, there was a frieze in the form of plaster covering four layers of bricks, covered with a tracery ornament with a motif of quatrefoils inscribed in circles. The cornice and the frieze were not used on the western façade, as it was decided to create one plane from the gable and the perimeter wall. At a height of about 3 meters, a stone drip cornice was led from all sides, probably bending upwards in each bay for about 30 cm.

The entrance to the church led from the west, so it was facing the market square. It was not located on the axis because of the central buttress, but moved to the north. It had the form of a two-arm (saddle) portal, above which there was probably a pointed, moulded opening of the same width in the base as portal. At the end of the fifteenth century, this portal was narrowed by cutting out part of the lintel and the crowning opening was removed. The medieval church also had two northern entrances with pointed heads.

The interior of the church in the Gothic period was covered with a vault with sharp-edged, two-groove ribs, typical of Kraków buildings from the late 14th century. Ribs could form a net system over the entire nave, or a tripartite one in the extreme bays and a cross vault in the three middle bays. The second variant would be supported by a buttress in the middle of the façade. However, at no stage of the medieval functioning of the chapel and the church, the vaults together with the entire interior were not divided into two aisles.

At the end of the fifteenth century, in front of the western entrance to the church, a chapel – vestibule called Gethsemane was erected. It was formed of two bays covered with a cross-rib vault, attached to a fragment of the wall between the central buttress and the northern buttress. Outside, it was opened with three ogival arcades with exceptionally rich sculptural decorations, operating with plant and animal motifs. Each ogival arch was extended to the form of a fleuron, and between them, on the axis of polygonal pillars, pinnacles were created with canopy niches for figures. Inside, the chapel housed an altar most likely made by Veit Stoss or his workshop, consisting of a group of stone figures.

A late-Gothic annex from the turn of the 15th and 16th centuries was created at the western bay of the northern wall of the church. It had two storeys, with the first floor pierced by two four-sided, moulded windows, closed by gratings made of angular iron rods, connected by threading technique into a rhombic pattern. Below, a stone, moulded portal with a moulded ogee arch was created. The second, slightly more modest portal was placed inside the annex. Probably originally the annex was covered with a steep, shingle roof.

an unusual autumn scene

Santa Maria sopra Minerva is one of the major churches of the Order of Preachers (also known as the Dominicans) in Rome, Italy. The church's name derives from the fact that the first Christian church structure on the site was built directly over (Italian: sopra) the ruins or foundations of a temple dedicated to the Egyptian goddess Isis, which had been erroneously ascribed to the Greco-Roman goddess Minerva (possibly due to interpretatio romana).

The church is located in Piazza della Minerva one block east the Pantheon in the Pigna rione of Rome within the ancient district known as the Campus Martius. The present church and disposition of surrounding structures is visible in a detail from the Nolli Map of 1748.

While many other medieval churches in Rome have been given Baroque makeovers that cover Gothic structures, the Minerva is the only extant example of original Gothic architecture church building in Rome. Behind a restrained Renaissance style façade the Gothic interior features arched vaulting that was painted blue with gilded stars and trimmed with brilliant red ribbing in a 19th-century Neo-Gothic restoration.

The church and adjoining convent served at various times throughout its history as the Dominican Order's headquarters. Today the headquarters have been re-established in their original location at the Roman convent of Santa Sabina. The titulus of Sanctae Mariae supra Minervam was conferred upon Cardinal António Marto, on 28 June 2018.

In Roman times there were three temples in what is now the area surrounding the basilica and former convent buildings: the Minervium, built by Gnaeus Pompey in honour of the goddess Minerva about 50 BC, referred to as Delubrum Minervae; the Iseum dedicated to Isis, and the Serapeum dedicated to Serapis. Details of the temple to Minerva are not known but recent investigations indicate that a small round Minervium once stood a little further to the east on the Piazza of the Collegio Romano. In 1665 an Egyptian obelisk was found, buried in the garden of the Dominican cloister adjacent to the church. Several other small obelisks were found at different times near the church, known as the Obelisci Isei Campensis, which were probably brought to Rome during the 1st century and grouped in pairs, with others, at the entrances of the temple of Isis. There are other Roman survivals in the crypt.

The ruined temple is likely to have lasted until the reign of Pope Zachary (741-752), who finally Christianized the site, offering it to Basilian nuns from Constantinople who maintained an oratorium there dedicated to the "Virgin of Minervum". The structure he commissioned has disappeared.

In 1255 Pope Alexander IV established a community of converted women on the site. A decade later this community was transferred to the Roman Church of San Pancrazio thereby allowing the Dominicans to establish a convent of friars and a studium conventuale there. The Friars were on site beginning in 1266 but took official possession of the Church in 1275. Aldobrandino Cavalcanti (1279), vicarius Urbis or vicar for Pope Gregory X, and an associate of Thomas Aquinas ratified the donation of Santa Maria sopra Minerva to the Dominicans of Santa Sabina by the sisters of S. Maria in Campo Marzio. The ensemble of buildings that formed around the church and convent came to be known as the insula sapientae or insula dominicana (island of wisdom or Dominican island).

The Dominicans began building the present Gothic church in 1280 modelling it on their church in Florence Santa Maria Novella. Architectural plans were probably drawn up during the pontificate of Nicholas III by two Dominican friars, Fra Sisto Fiorentino and Fra Ristoro da Campi. With the help of funds contributed by Boniface VIII and the faithful the side aisles were completed in the 14th century.

In 1453 church interior construction was finally completed when Cardinal Juan Torquemada ordered that the main nave be covered by a vault that reduced the overall projected height of the church. In the same year of 1453 Count Francesco Orsini sponsored the construction of the façade at his own expense. However work on the façade remained incomplete until 1725 when it was finally finished by order of Pope Benedict XIII.

In 1431, the Church and the adjacent Convent of the Dominicans was the site of a Papal conclave. The city of Rome was in an uproar upon the death of Pope Martin V (Colonna), whose family had dominated Roman political life for fifteen years, and enriched themselves on the wealth of the Church. There was fighting in the streets on a daily basis, and the Plaza in front of the Minerva, because of the configuration of streets, houses, church and monastery, could easily be fortified and defended. The Sacristy of the Church served as the meeting hall for the fourteen cardinals (out of nineteen) who attended the Conclave, which began on 1 March 1431. The dormitory of the friars in the Convent to the immediate north of the Church, served as the living quarters for the cardinals and their refectory and kitchen. On 3 March they elected Cardinal Gabriele Condulmaro, who took the name Eugenius IV. A second Conclave was held at the Minerva, on 4–6 March 1447, following the death of Pope Eugenius, once again in the midst of disturbances involving the Orsini supporters of Pope Eugenius and his enemies the Colonna. Eighteen cardinals (out of a total of twenty-six) were present and elected Cardinal Tommaso Parentucelli da Sarzana as Pope Nicholas V.

The Minerva has been a titular church since 1557, and a minor basilica since 1566. The church's first titular cardinal was Michele Ghislieri who became Pope Pius V in 1566. He raised the church to the level of minor basilica in that same year.

In the 16th century Giuliano da Sangallo made changes in the choir area, and in 1600 Carlo Maderno enlarged the apse, added Baroque decorations and created the present façade with its pilastered tripartite division in Renaissance style. Marks on this façade dating back to the 16th and 17th centuries indicate various flood levels of the Tiber 65 feet.

Between 1848 and 1855 Girolamo Bianchedi directed an important program of restoration when most of the Baroque additions were removed and the blank walls were covered with neo-gothic frescos giving the interior the Neo-Gothic appearance that it has today.

The basilica's stained glass windows are mostly from the 19th century. In 1909, the great organ was constructed by the firm of Carlo Vegezzi Bossi. The organ was restored in 1999.

The inscriptions found in S. Maria sopra Minerva have been collected and published by Vincenzo Forcella.

The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

Basilica di San Simplicio

La chiesa, costruita in due fasi tra la fine dell'XI secolo e la seconda metà del XII secolo, in stile romanico pisano, sorge su una piccola collina al centro della città.

Appartiene al primo romanico, il quale presenta un carattere sobrio e maestoso con una scarsa propensione alla decorazione.

La chiesa è costruita in parte con il granito.

Presenta una facciata tripartita da due lesene, arricchita da una trifora incassata

Basilica of San Simplicio

The church, built in two phases between the end of the 11th century and the second half of the 12th century, in Pisan Romanesque style, stands on a small hill in the center of the city.

It belongs to the early Romanesque, which has a sober and majestic character with a scarce propensity for decoration.

The church is partly built with granite.

It has a tripartite façade with two pilasters, enriched by a recessed trifora window

Another one...

The General Staff Building is an edifice with a 580 m long bow-shaped facade, situated on Palace Square in Saint Petersburg, Russia, in front of the Winter Palace.

The monumental Neoclassical building was designed by Carlo Rossi in the Empire style and built in 1819–1829. It consists of two wings, which are separated by a tripartite triumphal arch adorned by sculptors Stepan Pimenov and Vasily Demuth-Malinovsky and commemorating the Russian victory over Napoleonic France in the Patriotic War of 1812. The arch links Palace Square through Bolshaya Morskaya Street to Nevsky Prospekt.

Until the capital was transferred to Moscow in 1918, the building served as the headquarters of the General Staff (western wing), Foreign Ministry and Finance Ministry (eastern wing).

The western wing now hosts the headquarters of the Western Military District. The eastern wing was given to the Hermitage Museum in 1993 and was extensively remodeled inside.

I built this thing a while back when I learned about an architectural concept called tripartite. Basically, way back in the day, they used rougher building materials near the base of the building where the peasants could touch and the facade of the building would become more refined and sleek as it rose. I figured that would translate nicely into a cyberpunk scene, and this MOC was born. It should be seen as a "slice" of a larger cityscape.

This creation was awarded with the "Small Planetary Structure" trophy at BrickCon 2015.

The Burj Khalifa, known as the Burj Dubai before its inauguration, is a megatall skyscraper in Dubai, United Arab Emirates. With a total height of 829.8 m and a roof height (excluding antenna) of 828 m, the Burj Khalifa is the tallest structure in the world since topping out in late 2008.

Construction of the Burj Khalifa began in 2004, with the exterior completed five years later in 2009. The primary structure is reinforced concrete. The building was opened in 2010 as part of a new development called Downtown Dubai. It is designed to be the centrepiece of large-scale, mixed-use development. The decision to construct the building is reportedly based on the government's decision to diversify from an oil-based economy, and for Dubai to gain international recognition. The building was originally named Burj Dubai but was renamed in honour of the ruler of Abu Dhabi and president of the United Arab Emirates, Khalifa bin Zayed Al Nahyan; Abu Dhabi and the UAE government lent Dubai money to pay its debts. The building broke numerous height records, including its designation as the tallest tower in the world.

Burj Khalifa was designed by Adrian Smith, then of Skidmore, Owings & Merrill (SOM), whose firm designed the Willis Tower and One World Trade Center. Hyder Consulting was chosen to be the supervising engineer with NORR Group Consultants International Limited chosen to supervise the architecture of the project. The design is derived from the Islamic architecture of the region, such as in the Great Mosque of Samarra. The Y-shaped tripartite floor geometry is designed to optimize residential and hotel space. A buttressed central core and wings are used to support the height of the building. Although this design was derived from Tower Palace III, the Burj Khalifa’s central core houses all vertical transportation with the exception of egress stairs within each of the wings. The structure also features a cladding system which is designed to withstand Dubai's hot summer temperatures. It contains a total of 57 elevators and 8 escalators.

Critical reception to Burj Khalifa has been generally positive, and the building has received many awards. There have been complaints concerning migrant workers from South Asia who were the primary building labor force. These center on free market wages deemed by third parties to be insufficient. Several instances of suicides have been reported, which is not uncommon for migrant construction workers in Dubai.

CARCASSONNE, FRANCE

The Hartsville Historic District located in Trousdale County, Tennessee was nominated and deemed eligible for the National Register of Historic Places under criterion A for its significance to the patterns of Trousdale County's history as a late nineteenth and early twentieth century commercial center and under criterion C as a significant example of late nineteenth and early twentieth century commercial and domestic architecture in Hartsville & Trousdale County. One of the more prominent buildings located on the Northwest corner of West Main Street and Broadway is the old Bank of Hartsville built in 1901. It is a Neo-Classical two-story two-part commercial block brick building with stone pedimented door surround, tripartite windows on first floor, one-over-one double hung sash windows on second floor, and a decorative cornice and parapet. Unfortunately, at the time of my photograph, it appears that the structure was not in use. Hopefully it has been restored and/or repurposed so this great piece of history and architecture can be preserved for many, many years to come.

The Hartsville Historic District was added to the National Register of Historic Places (NRHP) on June 24, 1993. All the information above was found on the original documents submitted for listing consideration and can be viewed here:

npgallery.nps.gov/NRHP/AssetDetail?assetID=9ca39881-5983-...

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 link below:

www.flickriver.com/photos/photojourney57/

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

One of my favourite Buildings in Berlin.

In 1956, José M. Bosch, President of Ron Bacardí y Compañía approached Mies to commission the design of a new office space. He was particularly interested in a very open plan, and the relatively simple idea Mies came up with involved a square roof plate supported on each side by two columns. Though initial structural challenges had to be dealt with, the resulting pavilion typology became integral to Mies' architectural lexicon, in many ways the epitome of his universal conception of space.

The Bacardí Building was abandoned in September 1960 due to general political unrest in Cuba, but at the same time, two other museum commissions were brought to Mies' office. Georg Schaefer, a wealthy industrialist living in Schweinfurt approached Mies about the construction of a museum for his nineteenth-century art collection during the summer of 1960. A modest initial plan was drawn for the structure, but later that year Mies decided to reconfigure the unbuilt Bacardí project to fit Schaefer's program as he wished to see it built. Consequently, a scaled-down model of the Bacardí project this time rendered in steel rather than concrete was created. In March 1961, Mies also received a letter from the Senator for Building and Housing in Berlin, inviting him to build what was to be called the Neue Nationalgalerie, an exhibition space for the state's collection of early twentieth-century art. The two museum projects, though slightly different in scale, where to be essentially identical in form, both a version in steel of the original Barcardí design. Though the Schweinfurt project never came to fruition, the reductive exercise of continual reconfiguration allowed for the perfection of Mies' expression in Berlin, and the Neue Nationalgalerie remains as the sole built form of the initial tripartite conception.[5]

Aesthetic importance

Much of Mies' syntactical development throughout the three building progression leading up to the Neue Nationalgalerie was prefigured in an earlier project for a Museum for a Small City. This project was published in a special May 1943 edition of Architectural Forum. In his publication, Mies describes a seemingly floating roof plane, suspended above a single clear-span space punctuated by equidistant columns. This project is now seen as a significant move on Mies' part toward the alleviation of interior space by both defining and minimizing structural enclosure, thus joining exterior and interior space in a meaningful way. The structure itself, a composite of little more than ground plane, support and roof, thus becomes the building. The aesthetic importance of the clear-span was directly related to Mies' conception of museum space in general, a "defining, rather than confining space".[6] The completely open nature of the plan also serves to eliminate the barrier between art and community, simultaneously breaking down the reverence enacted by severely partitioned spaces and inviting interaction between viewer and art.[6] The overall aesthetic affect is thus one of vitalizing liberation.[7] This infinitely transformative capability and universality is also seen in Mies' buildings from the intervening years, namely the Farnsworth House in Plano, Illinois, and Crown Hall of the Illinois Institute of Technology campus. Various commentators have recognized the structure's ties to classical building, seeing it as a modern temple whose monumental simplicity evinces the immense skill behind its design and conception.[8]

David Chipperfield renovation

Having had no thorough modernization since its inauguration, the Neue Nationalgalerie required upgrades to its air-conditioning, lighting, security, accessibility, visitor facilities and the behind-the-scenes infrastructure for moving art.[13] In 2012 it was announced that British architect David Chipperfield would oversee a major renovation of the building. In a non-competitive selection process common for public contracts in Germany, his firm was chosen for the contract out of 24 architectural firms based on a two-stage negotiation process.

Originally planned for €101 million,[14] the €140 million[15] renovation project started in 2015 and was originally expected to last three years, during which time the museum was closed.[16] Original building elements, such as handrails and shelves, were removed, restored and reinstalled in their previous locations. Archival material dating from the construction at the Museum of Modern Art in New York and the Library of Congress in Washington, DC, helped the architects remain true to Mies's design.[17] Meanwhile, the structural framework of the roof, which rests on eight steel beams, and the glass facade was restored.[18]

Source: Wikipedia

House with cottage to left, now offices (to left) and public house (to right). C15 to right, C17 to left, with C18 and C19 elevations. Timber-framed and rendered, some incised. Plain tiled roof, stepped down to left in centre. Two-storey gabled dormer with casements to right of centre and end stack off-ridge to front at right. Central hipped projecting cross-wing with large gable to right and Cl9 barge-boards, pendant and finial, taking up most of the depth of the cross-wing. Smaller gable, with C19 barge-boards, pendant and finial, in left-hand re-entrant angle of cross-wing. 2 storeys to left and in cross-wing; 1 storey with attics to right. 1 glazing bar sash on 1st floor to left with tripartite glazing bar sash below. 1 glazing bar sash on 1st floor of re-entrant angle of cross-wing with casement below. 2-storey octagonal bay on end of cross-wing capped by steep octagonally-hipped roof. C20 bowed shop front on ground floor of right-hand block. Half-glazed door to left of canted bay on cross-wing and C20 boarded door to right of right-hand bow window. Interior: Substantial timber-frame visible.

Fougéres' most famous monument and attraction is the Château de Fougéres, a medieval stronghold built atop a granite ledge, which was part of the Duchy of Brittany's ultimately unsuccessful defence against French aggression, and part of a tripartite with Vitré.

The castle is one of the most impressive French castles, occupying an area of 2 hectares (4.9 acres), or even for some "the largest medieval fortress of Europe." It consists of three enclosures whose walls are beautifully preserved. If the seigniorial is ruined, the thirteen towers still rise with majesty. Some can be visited (the Hallay Tower and Tower of the Hague (12th century), Raoul Tower (15th century) and the Mélusine Tower). At the entrance, is a triple watermill.

The castle and its surroundings has been classified as a historic monument by list of 1862, by order of 4 July 1928 and by order of 26 February 1953.

the Basilca from the side that is usually not shown. Across the main alignment of the building, the city site has enormous differences in height ...

The Palladio motif (also known as the Venetian window or Serliana) seems to demand symmetry, which, fortunately, is not always present in reality. It is a variation of the triumphal arch scheme.

It is a portal or window opening surmounted by a round arch and flanked on either side by narrower and lower rectangular openings.

Such a combination of portal or window endings is also known as a Syrian arch. There may be small round windows (oculi) or fanlights above the side rectangular windows. With its tripartite division, it is also reminiscent of a triptych, a hinged altarpiece.

Deutsch

Hier zeige ich die Basilica von einer Seite, von der sie fast nie gezeigt wird. Das Stadtgelände hat quer zur Hauptgebäudeausrichtung enorme Höhenunterschiede, die das Gebäude, mit Sockeln und unterschiedlichen Treppenanlagen, aufnehmen muss.

Das Palladio-Motiv (auch Venezianische Fenster oder Serliana) scheint Symmetrie zu fordern, die in der Wirklichkeit, zum Glück, nicht immer vorhanden ist. Es ist eine Abwandlung des Triumphbogenschemas.

Es handelt sich um eine mit einem Rundbogen überwölbte Portal- oder Fensteröffnung, die seitlich von schmaleren und niedrigeren Rechtecköffnungen flankiert ist.

Eine solche Kombination der Portal- oder Fensterabschlüsse wird auch als Syrischer Bogen bezeichnet.

Über den seitlichen Rechteckfenstern können sich kleine Rundfenster (Oculi) oder Oberlichter befinden. Mit seiner Dreiteilung erinnert es auch an ein Triptychon, ein klappbares Altarbild.

_NYC0604_pt_bw2

The Tenth Ion Prophecy - The Year Of The Eclipse And Of The Old Comet (PNG version) by Daniel Arrhakis (2017)

With the music : Ninja Tracks - Eon (Epic Massive Hybrid Drama)

youtu.be/UlvNwQsBL3w?list=RDUA2ujp2xcPQ

Times are difficult for all of us and others will follow ... but in the end Love, Freedom, Knowledge and Tolerance will win !

Gone will be the days of Obscurantism, the Savage Economy of Profit and Military and Political Madness that brought the Earth almost to its destruction ... the Academies are now the guarantor of the new Future in which Earth, Humans and the Preservation of Nature is the priority. A New World - The New Prime Future World began .

(*) on April 20, 2061

________________________________________________

A Wonderful week dear friends, finally with more time to Flickr, trying catching up in challenges and groups next days !

So sorry for the great delay and thank you for your always so kind visit and nice comments ! : )

GV Circa 1820 villa with interesting Gothicised details. 3 storeys stucco faced, flanking Ionic pilasters. 2 storey bow to right of entrance. Low pitch slate roof with scalloped openwork eaves board. 3 casement windows 2nd floor, 2 on 1st and ground floors, tripartite on bow. The centre light of the tripartite windows and the other 1st floor window all French casements. All have 4-centred heads, marginal Gothic glazing and hood moulds over. Delicate iron balconies on elaborate brackets to 1st floor windows, that on bow with trellis supports to tent-shaped canopy. Vaulted open porch with 4-centred heads to openings, clustered shaft supports fluted pilasters to inner side of those flanking door. Frieze and moulded cornice projecting at corners, iron balustrade shove. Door of 4 moulded panels, upper 2 with 4-centred heads. 4-centred arched fanlight. Deep panelled reveals and soffit. The rear elevation is slate hung. Gothic windows with marginal glazing. Tuscan porch.

Georgian buildings on or near Warwick Street in Leamington Spa.

Terrace of houses on Waterloo Place off Warwick Street.

No's 9-29 Waterloo Place all Grade II listed.

Numbers 9-29 and Attached Railings 9-29, Royal Leamington Spa - British Listed Buildings

ROYAL LEAMINGTON SPA

SP3166SE WATERLOO PLACE

1208-1/2/411 (North side)

19/11/53 Nos.9-29 (Odd)

and attached railings

(Formerly Listed as:

WARWICK STREET

(North side)

Nos 9-29 (odd) Waterloo Place)

GV II

Terrace of houses, now offices. Numbered left to right.

c1829-1832 with later additions and alterations, including

rebuilding of c1970 to left. Pinkish-brown brick with painted

stucco facades, Welsh slate roof and cast-iron railings and

balustrade. Late Neo-Classical style.

PLAN: double-depth.

EXTERIOR: 4 storeys with attic and basement, 35 first-floor

windows arranged 3:3:3:3:3:3:2:3:3:3:3:3. End 3-window and

central 5-window bays project.

Stucco decoration includes rustication to ground floor and

basement. Centre and end projections have slender, fluted,

Corinthian pilasters between windows and to ends through first

and second floors, surmounted by continuous double frieze,

with moulded decoration to projections, and by continuous

dentil cornice, with acanthus modillions to projections.

Further pairs of plain pilasters to projections, with

continuous cornice and blocking course. First floor: 8-pane

French windows with divided overlights throughout.

Second floor: 6/6 sashes throughout, sills. Third floor: seven

3/6 sashes, blind opening, two 3/6 sashes, blind opening, two

3/6 sashes, blind opening, nine 3/6 sashes, six 6-pane

casements, three 3/6 sashes, 2-pane casement, blind opening,

2-pane casement.

Ground floor: entrance to No.9 to left return, 3 steps to

glazed door with cambered overlight within rusticated

surround, and porch with 2 fluted Ionic columns between 2

pillars and with round-arched windows to sides.

Entrances to Nos 11-27 are similar: 3 steps, mainly

roll-edged, to two 3-long-panel doors, the lower panels

roll-moulded; a part-glazed, 5-panel door; similar 3-panel

door; part-glazed 5-panel door; three part-glazed, 4-panel

doors; a part-glazed, 3-panel door with lion-knocker; all with

fanlights, mainly with radial glazing to heads except Nos 23 &

25 have stained glass, and all with fielded-panel reveals, the

lower panel roll-moulded. All within 2-columnar Ionic porches,

fluted to Nos 17 & 19 and all with engaged Doric pilasters;

double friezes with 3 wreaths to upper frieze, cornice.

Entrance to right return a panelled door in projecting solid

porch with end pilaster strip, cornice, low parapet with

sunken panel and with 6/6 sash with margin lights to side of

porch.

Windows: three 6/6 sashes with flat arches; four 6/6 sashes,

two 1/1 sashes and two 6/6 sashes all with rusticated flat

arches.

Central projection has 3 tripartite windows, the centres a 6/6

sash between 2/2 sashes, with cambered, rusticated arches. Six

6/6 sashes, two 1/1 sashes and three 6/9 sashes all with

rusticated flat arches, and with sills throughout.

Basement: from left, 4/8 sash, blocked door, 4/8 sash, 3/6

sash, 6/6 sash with rusticated flat arch, 3/6 sash, glazed

door, 6/8 sash, 3/6 sash, part-glazed door, 8/8 sash, 6/6

sash, glazed door, 6/8 sash, 8/8 sash glazed door, 6/6 sash,

8/8 sash with rusticated, flat arch, 4-panel door with divided

overlight, 8/8 sash, part-glazed door, 8/8 sash, part-glazed

door, boarded opening, 8/8 sash, 3/6 sash, 8/8 sash and board

door. Hipped roof, ridge stacks. Attics have roof dormers and

skylights partly-concealed behind low parapet.

First-floor continuous balustrade has

double-heart-and-anthemion motif which projects over porches

and continues around left return.

Railings and gates across front and to sides of steps are bars

with alternating anthemion and fleur-de-lys finials, with urn

finials to end-posts, except railings to right house (No.29)

are replacements. Boot scrapers to the upper steps mostly

remain.

Left return: 4 storeys with basement and attic, 3 first-floor

windows, central projection. Rustication to ground floor and

basement. Tall, fluted, Corinthian pilasters to ends rise

through first and second floors, dentil and acanthus modillion

cornice. To third floor at ends are pairs of plain pilasters.

First floor has tall 6/9 sashes. Second floor has 6/6 sashes,

sills. Third floor has 3/6 sashes, all in plain reveals.

Ground floor has tripartite windows, 6/6 between 2/2 sashes.

Basement has tripartite sash, 4/4 between 2/2 sashes, and 4/8

sash with sills.

Right return: 4 storeys with basement, 3 first-floor windows.

Rusticated ground floor to front half; first floor has 4-pane

window with margin-lights, tooled surround and cornice; 6/6

sash; 8/8 sash. Second floor: sill band; blind opening, two

6/6 sashes. Third floor: blind opening, two 3/6 sashes.

Basement has 5/10 sash, panel door and 4/8 sash. To rear are

mainly 6/6 sashes.

INTERIOR: some entrance halls have archways with fluted Doric

pilasters, most have dogleg staircases with stick balusters

and wreathed handrails, moulded cornices to many rooms, mainly

with egg-and-dart motif and decorated friezes to first floor.

Some marble chimneypieces, to No.11, first floor, a Regency

marble chimneypiece with Arts and Crafts tiles. Shutters to

some windows.

SUBSIDIARY FEATURES: area railings and gates and railings to

sides of steps have alternating anthemion and fleur-de-lys

finials, with urn finials to stanchions; railings to right

(No.29) are replacements. Stick balusters to basement steps.

HISTORICAL NOTE: Waterloo Place was named in honour of the

Duke of Wellington who visited the Spa in 1827. The Countess

of Essex and Lady Hodson were among the first residents

terrace.

(Roth D: A Pocket Guide to Royal Leamington Spa: Warwick:

1978-: 19; Leamington Museum files; Cave LF: Royal Leamington

Spa Its History and Development: Chichester: 1988-: 40).

Offices to Let.

3x the same springtail that happily wanted to be looked at from all sides.

This relief is attributed to the workshop of Desiderio da Settignano (1430-1464).

Prudence - Desiderio da Settignano - London, V&A Museum, collection

*********************************************************************************

The relief depicts a three-faced image of the Cardinal Virtue of Prudence. Erwin Panofsky was the first to explain the significance of the figure, noting its relationship of the iconography of Titian's "Allegory of Prudence". Oddly however, in this rendering there seems no allusion to the virtue of Prudence relying on knowing the past, the present and the future.

The three faces seem to have similar features and there is no obvious difference in their ages. There is, however, something rather reminiscent of contemporary representations of Christ in the half-closed eyes and slightly forked beard of the central figure that could lead one to speculate on possible associations between the "trifrons" Prudence and the Christian concept of the tripartite Holy Trinity.

As there is no trace of such a connection in the sources or commentaries of the period, however, it seems that any interpretation based on this possible association would be ill-founded.

collections.vam.ac.uk/item/O154719/prudence-panel-desider...

The Public Garden, also known as Boston Public Garden, is a large park in the heart of Boston, Massachusetts, adjacent to Boston Common. It is a part of the Emerald Necklace system of parks and is bounded by Charles Street and Boston Common to the east, Beacon Street and Beacon Hill to the north, Arlington Street and Back Bay to the west, and Boylston Street to the south. The Public Garden was the first public botanical garden in America.

Boston's Back Bay, including the land the garden sits on, was mudflats until filling began in the early 1800s. The land of the Public Garden was the earliest filled, as the area that is now Charles Street had been used as a ropewalk since 1796. The town of Boston granted ropemakers use of the land on July 30, 1794, after a fire had destroyed the ropewalks in a more populated area of the city. As a condition of its use, the ropewalk's proprietors were required to build a seawall and fill in the land which is now Charles Street and the land immediately bordering it (now a part of the Public Garden).

Much of the landfill material came from Mount Vernon, formerly a hill in the Beacon Hill area of Boston. Initially, gravel and soil were brought from the hill to the landfill area by handcart. By 1804, a gravity railroad had been constructed to rapidly bring material from the top of the hill to the marsh; today, Mount Vernon no longer exists, having been completely removed to be used as landfill for the Back Bay.

In February 1824, the city of Boston purchased back the land granted to the ropemakers, for a cost of $50,000.[6] The next year, a proposal to turn the land into a graveyard was defeated by a vote of 1632 to 176. The Public Garden was established in 1837, when philanthropist Horace Gray petitioned for the use of land as the first public botanical garden in the United States. By 1839, a corporation was formed, called Horace Gray and Associates, and made the "Proprietors of the Botanic Garden in Boston." The corporation was chartered with creating what is now the Boston Public Garden. Nonetheless, there was constant pressure for the land to be sold to private interests for the construction of new housing. The year that Boston's Public Garden opened, Mr. John Fottler Sr., dubbed "the Father of Our Parks", delivered the first load of plants ever set at the gardens, from the Hon. Marshall P. Wilder of Dorchester.

While most of the land of the present-day garden had been filled in by the mid-1800s, the area of the Back Bay remained an undeveloped tidal basin. In 1842, the state legislature created The Commissioners on Boston Harbor and the Back Bay, in order to determine how to best develop the land; the state wanted to control the lands and to build an upper-class neighborhood in the area beyond the Public Garden. The City of Boston petitioned the state to grant control over the basin (which was controlled by the then-independent city of Roxbury), in hopes of generating significant revenue from any developments that would be built after filling it in. When the state commission rejected Boston's petition, the Boston City Council threatened to sell the garden to housing developers, which would have significantly reduced the desirability of the area for the upper-class elite that the state was hoping to attract.

The conflict between the City of Boston and the Commonwealth of Massachusetts was finally resolved when the Tripartite Indenture of 1856 was agreed to by both parties and passed a general vote of citizens 6,287 to 99. In the agreement, Boston gave up its rights to build upon the Public Garden; in return, it received a strip of land which is now a part of the garden, abutting Arlington Street.

In October 1859, Alderman Crane submitted the detailed plan for the Garden to the Committee on the Common and Public Squares and received approval. Construction began quickly on the property, with the pond being finished that year and the wrought iron fence surrounding the perimeter erected in 1862. Today the north side of the pond has a small island, but it originally was a peninsula, connected to the land. The site became so popular with lovers that John Galvin, the city forester, decided to sever the connection with the land.

The 24 acres landscape was designed by George F. Meacham. The paths and flower beds were laid out by the city engineer, James Slade, and the forester, John Galvin. The plan for the garden included a number of fountains and statues, many of which were erected in the late 1860s. The most notable statue is perhaps that of George Washington, done in 1869 by Thomas Ball, which dominates the western entrance to the park facing Commonwealth Avenue. The signature suspension bridge over the middle of the pond was erected in 1867.

Gas lamps were originally used to light the garden at night, but in 1883, construction of electric lamps was begun. There was initially concern over the use of electric lamps, as it would require wires to be run through the garden, and some members of government feared that it would harm the aesthetics of the place. But as electric lighting replaced gas lighting, and vandalism of the garden – such as the theft and destruction of its flowers – was a growing concern, electric lighting was eventually installed throughout.

In the early 20th century, baby alligators were kept in a basin near the Commonwealth Avenue entrance; they were fed live rats and mice by local residents.

A flagpole stands today on the eastern side of the garden, close to Charles Street and just south of the main entrance there. The original flagpole was struck by lightning and destroyed in 1918, and in 1920 the city appropriated $2,500 for construction of a new one. In 1982, the city granted an additional $25,000 for improvements to the flagpole. A circular granite bench was installed around the pole, with the work being done by the Friends of the Public Garden.

On January 6, 1913, the City Council placed the garden, along with the Boston Common, under the direct management of the Public Grounds Department of the city. That department declared walking upon the grass of the Common or garden to be illegal, and arrests were made for that offense until at least the 1960s.Today, sitting on the grass is permitted except for specific sections of the lawn where a posted sign forbids access.

In 2008 an automated sprinkler system was installed at a cost of $800,000. Heavy foot traffic, a multitude of plant types, the garden's historical and cultural importance, and a variety of microclimates increased the complexity of the automated system.

Originally, the Charles Street side of the Public Garden (along with the adjacent portions of Boston Common) was used as an unofficial dumping ground, due to being the lowest-lying portion of the Garden; this, along with the Garden's originally being a salt marsh, resulted in this edge of the Public Garden being "a moist stew that reeked and that was a mess to walk over, steering people to other parts of the park". Although plans had long been in place to regrade this portion of the Garden, the cost of moving the amount of soil necessary, weighing 14,000 short tons prevented the work from being undertaken. This finally changed in the summer of 1895, when the required quantity of soil was made available as a result of the excavation of the Tremont Street Subway and was used to regrade the Charles Street sides of both the Garden and the Common.

The Public Garden is managed jointly between the Mayor's Office, The Parks Department of the City of Boston, and the non-profit Friends of the Public Garden. It was designated a Boston Landmark by the Boston Landmarks Commission in 1977 and declared a National Historic Landmark in 1987.

Built in 1900 and expanded in 1908, this Beaux Arts-style flatiron building was designed by Gordon and Paunack to house the Commercial National Bank, and is known as the Wisconsin Building. The building is flatiron-shaped with a curved corner, and features stone cladding on the first floor at the corner and along the State Street facade, with stone cladding featuring fluted doric engaged columns on the first floor, large storefront windows and entrances, a prominent corner entrance with a decorative metal grille above, a cornice at the top of the first floor stone cladding with the words “Commercial Bank” and “Bank” emblazoned on the architrave. Above the first floor and along Carroll Street, the building is clad in red brick with one-over-one windows and decorative brick trim and stone lintels, with curved tripartite windows on the curved corner separated by fluted pilasters, a metal fire escape mounted on the Carroll Street facade, an entrance on Carroll Street surrounded by stone trim with the words “Office Entrance” engraved into the header, and a cornice with dentils at the top of the fourth floor, at the base of the parapet that encloses the building’s low-slope roof. The building is a contributing structure in the State Street Historic District, listed on the Wisconsin State Register of Historic Places.