View allAll Photos Tagged albini
Castle Rising built by William D'Albini ~1140AD
www.flickr.com/photos/193392045@N04/51519806123/in/photos...
This Norman church was built from bricks and tiles saved from the ruins of Roman Verulamium. This ambitious project was completed in 1115, under the rule of Abbot Richard d'Albini. The only English pope, Adrian IV, was born locally and granted special privileges to the Abbey, enhancing its reputation and power.
A real dive into the archives as it is a bit too warm for me outside at the moment .
Taken on a visit to Arundel back in 2009 , a superb place to visit and a shot of the Keep at Arundel Castle .
The oldest feature is the motte, an artificial mound, over 100 feet high from the dry moat, and constructed in 1068: followed by the gatehouse in 1070. Under his will, King Henry I (1068-1135) settled the Castle and lands in dower on his second wife, Adeliza of Louvain. Three years after his death she married William d'Albini II, who built the stone shell keep on the motte. King Henry II (1133-89), who built much of the oldest part of the stone Castle, in 1155 confirmed William d'Albini II as Earl of Arundel, with the Honour and Castle of Arundel.
Apart from the occasional reversion to the Crown, Arundel Castle has descended directly from 1138 to the present day, carried by female heiresses from the d'Albinis to the Fitzalans in the 13th century and then from the Fitzalans to the Howards in the 16th century and it has been the seat of the Dukes of Norfolk and their ancestors for over 850 years. From the 15th to the 17th centuries the Howards were at the forefront of English history, from the Wars of the Roses, through the Tudor period to the Civil War.
As Adeliza of Louvin and William d'Aibini ( sometimes spelt dAubigny ) are on our family history this scene has a special significance .
Rising Up.
Castle Rising, Norfolk, England.
This photo of the tower is taken through the gatehouse which provides the arch that frames the shot. The earthworks that surround the tower are particularly impressive. Entry is free to English Heritage members and the following is from there website.
"One of the largest, best preserved and most lavishly decorated keeps in England, surrounded by 20 acres of mighty earthworks.
Building of the castle was begun in 1138 by the Norman lord William d'Albini for his new wife, the widow of Henry I. In the 14th century it became the luxurious residence of Queen Isabella, widow (and alleged murderess) of Edward II."
The castle is owned and managed by Lord Howard of Rising.
One of the largest, best preserved and most lavishly decorated keeps in England, surrounded by 20 acres of mighty earthworks.
Building of the castle was begun in 1138 by the Norman lord William d'Albini for his new wife, the widow of Henry I. In the 14th century it became the luxurious residence of Queen Isabella, widow (and alleged murderess) of Edward II.
Owned and managed by Lord Howard of Rising. (English Heritage website)
On my trip to Norfolk last week I called in at the village of Castle Rising near Kings Lynn to try and get a shot of the castle. That proved impossible, but in the village I came across what looked like a spectacular Norman church. However, when I looked closer I discovered that a lot of the stonework looked younger than it should have done, and some of the "Norman" decoration didn't look quite right. Needless to say, I discovered that there had been a major refurbishment in the 19th century. Normally these refurbishments, invariably paid for by wealthy local landowners, have taken place in the latter part of the century. But in this case the restorations started much earlier, and both are the early work of architects who would go on to be considered among the finest of the century. First came Anthony Salvin in the 1840s, and then George Street in the 1850s. Here the two architects gave their own versions of Norman to complement the original, which had been built in the 1150s by William d'Albini, at the same time as his nearby castle. Now, much of the "Norman" detailing that we see, including the tower above the roofline, the main porch, and most of the doorways, is the work of Salvin and Street; but the glorious west front of this Grade I-listed church is largely d'Albini's.
"St Lawrence's Church was built by William de Albini in the mid 12th century and is one of the finest Norman churches in the county. William also built the castle from which the village takes its name. Various restorations have been carried out; the top half of the tower, south transept and porch date to the 1850s. The west front has retained its original Norman brilliance and features zigzags, spiral columns, crouching figures and interlaced arches. The centrally-located Norman font has different carvings on each side and one has three animal heads. More heads on the corners float amongst interwoven patterns. The chancel is wholly Early English (13th century), with its pointed lancet windows." -- www.exploringnorfolkchurches.org/church/st-lawrences-cast...
'Israeli parliament's decision to impose the death penalty on Palestinian prisoners is
"essentially no different from Hitler's policies against Jews," Turkish President Recep Tayyip Erdogan said on Friday, Anadolu reports.
"What is being done is discrimination, it is racism, it means implementing in Israel a worse version of the apartheid regime that was overthrown in South Africa in 1994," Erdogan said at a meeting of the International Conference of Asian Political Parties (ICAPP) Women's Wing. He said that imposing the death penalty only for Palestinians amounts to "apartheid' and turns law into an
"instrument of racist fascism."' - Middle East Monitor
🇫🇷 Le couvent Saint François de Vico est aujourd’hui habité depuis 1836 par les Missionnaires Oblats de Marie Immaculée, dont le Père Albini a été le supérieur emblématique.
Il est possible d'y être hébergé .
Les pères assument le service de plusieurs paroisses démunies de prêtes.
🇬🇧 The Saint Francis Convent in Vico has been inhabited since 1836 by the Missionary Oblates of Mary Immaculate, whose Father Albini was the emblematic superior.
It is possible to stay there.
🇩🇪 Das Kloster Saint François de Vico wird seit 1836 von den Missionaren Oblaten der Makellosen Jungfrau Maria bewohnt, deren symbolträchtiger Oberer Pater Albini war.
Es besteht die Möglichkeit, dort zu übernachten.
🇪🇸 El convento de San Francisco de Vico está habitado desde 1836 por los Misioneros Oblatos de María Inmaculada, cuyo superior emblemático fue el padre Albini.
Es posible alojarse allí.
🇮🇹 Il convento di San Francesco di Vico è oggi abitato dal 1836 dai Missionari Oblati di Maria Immacolata, di cui padre Albini è stato il superiore emblematico.
È possibile soggiornarvi.
Nikon D810
Taken with Meyer-Optik Primoplan 58 mm f:1.9
The Primoplan 1.9 58mm is a beautiful, highly sought after prime lens that was manufactured between 1952 and 1959 by the Meyer-Optik company in East Germany. During that time Meyer-Optik Görlitz was famous for high end fast lenses.
www.flickriver.com/photos/jverges/popular-interesting/
Please view on flickriver :
Wymondham (pronounced 'Windham') lies approximately 9 miles south-west of Norwich in the Tiffey valley. It is a busy market town - conveniently located next to the A11. It is also famous for its Abbey which was founded by William de Albini in 1107. The present church incorporates nine bays of the Norman nave and features a fine hammerbeam roof with angels.
Henry Peacham (?1576- ?1643) was the Master of the Grammar School in the town and wrote The Compleat Gentleman - which was published in 1622. Dr Johnson used it as a source for the heraldic definitions in his dictionary.
George Szirtes, the poet and translator, also lives in the town - together with his artist wife, Clarissa Upchurch. Szirtes was born in Budapest in Hungary in 1948. His family moved to England as refugees in 1956 - and he studied Fine Art in London and Leeds. He won the Faber Memorial Prize in 1980 and the T. S. Eliot Prize in 2005.
George Szirtes
In 1994 he moved to Norfolk to take up the position as Head of Creative Writing at the Norwich School of Art and Design. He now teaches at the University of East Anglia.
Szirtes' poetry deals intimately with everyday concerns - but viewed through the eyes of an outsider. Here is one of the sonnets from his Norfolk Fields sequence which focuses on Wymondham itself:
The WI stall. Jams, flowers. White
hair scraped back in the draught of an open door.
The butcher’s. He knows you by name. He calls
your name out. His chopping block is washed bright
by the morning sun. The solicitor
down the street. His nameplate. War memorials
with more names. Rows of Standleys, Bunns,
Myhills, Kerridges. Names on shopfronts: bold
reds, whites and blues in stock typography.
Names on labels tied with string to shotguns.
Names on electoral registers. Names in gold
in the children’s section of the cemetery
by the railway cuttings. Willows, faint blue
in the afternoon, light gently whistles through.
The Norfolk Fields sonnets were dedicated to W.G. Sebald who also lived in Wymondham for a time - prior to moving to Poringland.
Szirtes has recently published a series of Three Norfolk Libretti - which includes the delightful Tiffey Song - a lyric about the 'titty-totty little river' that flows through Wymondham. Here is one of the verses:
Solo:
I have made myself small.
I scurry towards the Yare
Which is yet nameless.
I am young and feeble
When the sun shines for a few months
I disappear beneath the ground.
Small voices in the earth
Soaked into mud
Small hands against reeds
Small veins of clear blood
Small lives of birds and worms,
Small sounds and simple terms
I watch as I sing.
There is a very nice walk by the Tiffey which runs from the Abbey to Chapel Bridge. It then skirts Crownthorpe hill and enters the Kimberley Hall estate. The present hall was built in 1712 for Sir John Wodehouse - a ancestor of P.G. Wodehouse. Further downstream the Tiffey flows through the village of Wramplingham where the travel writer Bill Bryson currently lives.
Jameos del Agua (Isola di Lanzarote, Canarie) è un complesso di grotte vulcaniche formatesi migliaia di anni fa a seguito dell'eruzione del Vulcano della Corona.
Nelle grotte si trova un lago in cui vive una specie di granchio albino cieco unica al mondo: all'ingresso del complesso si trova questa grossa scultura che sembra un po' anticipare quello che poi si vedrà...ma in realtà i granchi albini sono piccolissimi e pure difficili da fotografare!
----------
Jameos del Agua (Lanzarote Island, Canary Islands) is a complex of volcanic caves formed thousands of years ago following the eruption of the Corona Volcano.
In the caves there is a lake in which a species of blind albino crab lives, unique in the world: at the entrance to the complex there is this big sculpture that seems to anticipate what you will see later... but in reality the albino crabs are really tiny and also difficult to photograph!
Wymondham Pron. Win-dum Abbey.
The Board at the entrance of this site reads:-
THE ABBEY CHURCH OF
ST MARY & ST THOMAS OF CANTERBURY
Wymondham Abbey was founded in 1107 through the generosity
of William D'Albini, Chief Butler to King Henry I. A community
of Benedictine Monks lived here until 1538 but also the building
was and has remained the Parish Church for the people of the town.
The congregation will be pleased to welcome you to any of our services.
For opening times for visitors please see the notice by the main door.
Vicar The Rev'd Canon Christopher Davies 01953 602269
If approaching the church from the town, you see the ruins and foundations at the east end, and you realise that what remains standing and in use today is only half of the great Abbey Church which once dominated the South Norfolk countryside. Only, in fact the Nave of the monastic church, together with its aisles and west and central towers, Hardly anything remains above ground of the once-splendid monastic Quire which lay beyond the tall arch of the, now-ruined, central tower.
www.wymondhamabbey.nildram.com
Negli anni Cinquanta del Novecento, Palazzo Rosso a Genova è stato completamente restaurato grazie all'intervento, architettonico e museografico, di Franco Albini. Tra
le novità, questa bella scala interna.
We see two old mills on the Guadalquivir river and Fray Albini district
-
©2013 All rights reserved.
© Please don't use this image on websites, blogs or other media without my explicit permission
A breach of copyright has legal consequences
Es schlagen zwei Herzen in meiner Brust, das eine gilt der Ästhetik und das andere gilt der Information.
Möchte auch in die Reihenfolge meiner Studienreise hineinkommen, um den Überblick zu behalten. Unterbrechungen werden trotzdem folgen ...
Hier habe ich nun 12 vertikale Bilder zusammen gesetzt, um euch ein interessantes Projekt vorzustellen, das Renzo zunächst für Kanada entworfen hatte aber dann in Italien realisierte, was nicht einfach ist.
Er baute in Trient schließlich ein Wissenschafts-Museum, Wohnanlagen und Geschäfte, sowie eine Uni-Bibliothek, ein ganzes Quartier.
Für eine Nacht wohnte ich in einem Piano-Haus ... ;-) ...
Lest diesen Bauweltartikel, er beschreibt es am besten ! Es lohnt sich ! Mann erfährt viel Interessantes über das Land, die Bürokratie, die Stadt, Geschichte und Kultur und über Renzo ...
Quartier Le Albere
Das zusammenfallende Kartenhaus
Auf dem Gelände einer ehemaligen Reifenfabrik in Trient entstand nach Plänen aus dem Architekturbüro von Renzo Piano ein neues Quartier. Soll es wirklich Vorbild für eine moderne italienische Stadt sein? Immerhin ist es Piano gelungen, nun auch in seiner Heimat mit einem privaten Finanzier ein Großprojekt nicht nur zu planen, sondern auch zu bauen. Der Palazzo delle Albere nebenan indes steht nach einer Nutzung als Museum wieder leer.
Es droht zu verfallen.
Öffentliche Bauvorhaben in Italien sind nicht einfach zu vollenden. In der Regel sorgen endlose bürokratische Hindernisse dafür, dass Bauten Jahrzehnte brauchen, um abgeschlossen zu werden. So wurde der Florentiner Justizpalast 2009 vollendet, Leonardo Ricci hatte den Wettbewerb hierfür aber schon Mitte der siebziger Jahre gewonnen. Und die besten Projekte von Renzo Piano findet man außerhalb Italiens.
Dass nun in Trient das Naturwissenschaftliche Museum MUSE und das angrenzende Stadtviertel Le Albere nach den Entwürfen seines Büros weitgehend abgeschlossen werden konnten, grenzt angesichts dieser Verhältnisse fast an ein Wunder.
Die Region Trentino-Südtirol ist eine von fünf autonomen Regionen Italiens. Sie hat das Recht, in ihrem Gebiet eingenommene Steuern selber auszugeben, statt die Gelder nach Rom abzuführen. Dank der guten Verwaltung ist die Region in den letzten Jahren zur produktivsten und wohlhabendsten in Italien geworden.
Das neue Museum, zehn Gebäudeblocks und ein in Bau befindliches kleines Kongresszentrum gehören zum umfangreichste Stadtentwicklungsprojekt Italiens seit der Fertigstellung des La Bicocca-Viertels in Mailand, das Gregotti Associati zwischen 1988 und 2005 für die Firma Pirelli verwirklichten.
Auf dem 11 Hektar großen Gelände befand sich zwischen 1927 und 1999 ein wichtiger Produktionsstandort der Firma Michelin.
Das Areal liegt zwar in der Nähe des Stadtzentrums, ist aber eine begrenzte Enklave. An seinem östlichen Rand verläuft eine wichtige Eisenbahnstrecke, im Westen bilden die Autobahn A 22 und die Etsch die Grenze, und an der Nordseite ist es durch ein Stadion und die dazugehörenden Parkplätze vom historischen Zentrum getrennt. Die Provinz Trient erwarb das Gelände Ende der neunziger Jahre.
Zunächst wurde ein Ideenwettbewerb unter vier Teams durchgeführt, die jeweils aus einem ortsansässigen und einem auswärtigen Architekten bestanden. Kurz darauf wurde das Gelände an ein Entwicklungskonsortium, die Castello SGR S.p.A. verkauft, das sich zu einer öffentlich-privaten Partnerschaft bereit fand, bei der 25 Prozent der Grundstücksfläche an die Stadt zurückfallen sollte. Das Museum und der große Park auf dem bei der Stadt verbleibenden Teil sollten den Marktwert des privat erschlossenen Areals steigern. Im Jahr 2002 wurde Renzo Piano hierfür mit der Planung beauftragt, ohne einen weiteren Wettbewerb.
Der Entwurf für das neue, privat entwickelte Stadtviertel Le Albere stammt von Susanna Scarabicchi, einer Mitarbeiterin im Genueser Büro von Piano. Sie konnte sich auf zwei frühere Entwürfe stützen: Den einen lieferte der katalanische Architekt Joan Busquets, den anderen Renato Bocchi, ein Professor am IUAV in Venedig, der 2001 am Masterplan für die Stadt mitgearbeitet hatte.
Busquets wollte die Bahngleise überbrücken und das Viertel so an das Hauptstraßennetz der Stadt anbinden. Eine solche Lösung wäre jedoch zu teuer geworden und hätte eine Kooperation mit der nationalen Eisenbahngesellschaft erfordert, die als notorisch schwieriger Partner bekannt ist. Bocchis Team schlug auch vor, über die Autobahn hinweg einen direkten Fußgängerzugang von Westen zu schaffen; ein Konzept, das mit dem endgültigen Projekt tatsächlich verwirklicht wurde.
Während die Auswirkungen der Autobahn auf diese Weise gemildert wurde, bleiben die Probleme mit der Bahntrasse und der Zugänglichkeit des Stadtzentrums bestehen. Le Albere ist weiterhin eine Enklave, eine schrille Tasche, die verführerisch am Körper Trients baumelt.
Rettet den Palazzo!
Auf dem Gelände befindet sich auch ein bedeutendes historisches Bauwerk der Stadt, dem das neue Viertel seinen Namen verdankt, der Palazzo delle Albere aus der Renaissance. Er wurde von Cristoforo Madruzzo, dem Fürstbischof der Stadt, in Auftrag gegeben, der in der Mitte des 16. Jahrhunderts dazu beitrug, dass Trient zum Tagungsort des gegenreformatorischen Konzils wurde. „Albere“ bezieht sich auf die parallelen Pappelreihen, die einst vom Stadtzentrum bis zum Palast des Fürstbischofs führten, seit langer Zeit aber durch einen Friedhof und die Bahntrasse unterbrochen sind.
Das rechteckige Gebäude mit Ecktürmen ist umgeben von einem zurzeit trockenen Wassergraben. Die allseitige Umgrenzung durch Wasser ist aber auch das einzige Merkmal, das es mit dem neuen Museum gemein hat. Zwanzig Jahre lang war im Palazzo delle Albere ein Museum für zeitgenössische Kunst untergebracht, das inzwischen als MART in ein neues Gebäude von Mario Botta in der Nachbarstadt Rovereto umgesiedelt wurde. Seit 2002 ist der Palazzo dem Verfall preisgegeben und bedarf dringend der Restaurierung.
Das neue Museum ist dem Renaissancebau gefährlich nahe gerückt, bis auf 25 Meter. Die dynamischen Dächer des Neubaus mit ihren unregelmäßigen Neigungen erzeugen eine heftige Dissonanz. Pianos Bau scheint wie eine Schar von Landsknechten mit aufgepflanzten Bajonetten den Kampf ge-gen das Bollwerk der Gegenreformation aufzunehmen.
MUSE
Das MUSE, die beiden ersten Buchstaben stehen für „MUseum“ und beiden letzten für „SciencE“, hat seinen Ursprung in einem lange Zeit wenig besuchten naturwissenschaftlichen Museum der Stadt, das zugleich wichtige Forschungsvorhaben fördert. Vor allem Michele Lanzinger, seit 1992 der Direktor des Museums, bemühte sich darum, die Institution spektakulärer und interaktiver zu gestalten. Dieses Ziel ist mit dem Neubau erreicht: Im ersten Monat nach der Eröffnung kamen täglich fast 2500 Besucher. Die 2700 Quadratmeter umfassende Ausstellungsfläche ermöglicht eine großzügige Inszenierung. Parallel zur Museumserweiterung konnte auch die Zahl der wissenschaftlichen Mitarbeiter vergrößert werden. Fast die Hälfte der Flächen ist für Büros, Bibliothek und Forschungslabore reserviert.
Für Renzo Piano ist das MUSE nach dem NEMO in Amsterdam aus dem Jahr 1997 und der California Academy of Sciences in San Francisco (Bauwelt 41.2008) das dritte Wissenschaftsmuseum. Während in Amsterdam das Gebäude wie der Bug eines gigantischen Schiffs in den Hafen vorkragt, knüpft das bepflanzte, an sich wölbende Hügel erinnernde Dach in San Francisco an die Landschaft des Golden Gate Parks an.
Piano betont, dass er sich in Trient von den zerfransten Umrissen des Monte Bondone und den zerklüfteten Gipfeln der Alpen inspirieren ließ, doch die kontrastierenden Neigungen der Dächer erinnern eher an ein zusammenfallendes Kartenhaus. Die spitzen Dachflächen steigen mit unterschiedlichen Neigungen hoch über den fünf Museumsgeschossen auf und sind mit Solarzellen bestückt. Über die Lage des Museums, dicht am historischen Zentrum, lässt sich nicht streiten, sie ist logistisch günstig. Unverständlich aber ist, warum es so nahe an den Palazzo gerückt werden musste.
Pianos Mantra der Leichtigkeit und Transparenz wurde von seinem Büro pflichtgemäß befolgt, jedoch scheint die Ästhetik des Bruchs – eine Spalte trennt den Büroblock vom Foyer und den Museumsblock vom tropischen Gewächshaus –, funktionaler oder konstruktiver Logik nicht zu folgen. Das bringt deutliche Mängel mit sich. Zum Beispiel stößt am westlichen Zugangsweg zum Eingang eine der aluminiumverkleideten Dachflächen bis auf Kopfhöhe hinunter, sodass Passanten durch ein rotweißes Sicherungsband auf die Gefahr hingewiesen werden müssen. Tafeln aus blendend weißem Arduino-Stein verkleiden die Außenwände.
Er stammt aus einem Steinbruch in der Gegend. Diese hellen Tafeln stehen in harschem Kontrast zur Umgebung. Vergleicht man dieses heftige Bild mit der Anmut, mit der sich Renzo Pianos Fondation Beyeler in die vorstädtische Umgebung Basels einfügt, wird deutlich, dass das MUSE partout durch Kontrast auf sich und das neue Viertel aufmerksam machen will.
Auch die Innenarchitektur, einschließlich der für die Ausstellung, wurde von Renzo Pianos Büro entworfen und weist außergewöhnliche Details auf. Sie beziehen sich beispielsweise auf Arbeiten von Franco Albini, einen Mentor Pianos, der für Inneneinrichtungen zur Stabilisierung ebener Flächen gespannte Stahlseile einsetzte. Die meisten Ausstellungstische sind an solchen Stahlseilen zwischen Decke und Boden fixiert.
Die Hauptattraktion des Museumsgebäudes ist ein sechsgeschossiges Atrium, in dem 45 Tierpräparate in gestaffelter Anordnung von der Decke hängen. Ich fühlte mich unmittelbar an Maurizio Catalans Retrospektive im New Yorker Guggenheim Museum erinnert, bei der der Künstler sein gesamtes Œuvre im Atrium aufhängte und so eine verblüffende Galaxie schuf. Jedes Geschoss des Museums, das von oben beginnend chronologisch aufgebaut ist, setzt sich mit einem bestimmten Aspekt der alpinen Umwelt auseinander.
In einigen Geschossen begegnet man diversen Materialien, die man in die Hand nehmen kann und Präsentationen authentischer Proben aus den Bergen der Umgebung. Einer der Blickfänge im obersten Geschoss ist ein simulierter Gletscher. Er schmilzt, für die Besucher erkennbar, und bildet sich auch wieder neu. Vom obersten Geschoss gelangt man auf eine große Terrasse, die für Museumsveranstaltungen und Feste genutzt wird.
Der Höhepunkt der gesamten Ausstellung ist der „tropische Wald“, die Nachgestaltung einer tansanischen Dschungellandschaft. In Tansania betreiben einige Museumsmitarbeiter schon seit mehr als zehn Jahren ein Forschungsprojekt. Man schlendert unter einem simulierten Wasserfall hindurch, auf einem sich schlängelnden Pfad, der von tropischen Gewächsen gesäumt wird.
Das Aufeinandertreffen zweier gigantischer Glasflächen in einer unharmonisch schrägen Linie über dem Gewächshaus stellt die wohl provokanteste Position gegenüber dem Palazzo dar. Nahe dem Fahrstuhl liest man im Museum eine Maxime von Albert Einstein: „Man muss die Dinge so einfach wie möglich machen. Aber nicht einfacher“!
Das neue Stadtviertel
Wäre der warme rosa Marmor (Rosso di Trento), der zur Pflasterung des Museumsfoyers verwendet wurde, auch anstelle der weißen Außenverkleidung eingesetzt worden, würde sich das Gebäude zurückhaltender präsentieren. Tatsächlich zeigt dieser Marmor an den Wänden der anderen Gebäude im neuen Viertel Le Albere eine wundervolle Wirkung. Das Museum aber agiert als glänzende Kulisse für das durch Straßen und Plätze gegliederte, zehn Blocks mit insgesamt achtzehn Gebäuden umfassende Viertel.
Das gesamte Quartier wird von Fußgängerstraßen erschlossen; für die Autos gibt es eine Ringstraße und ausreichende Stellplätze in Tiefgaragen. Die Hauptstraße von geometrischer Strenge führt über 300 Meter vom Foyer des MUSE zum Eingang des Konferenzzentrums und des Hotels. Ihre Breite von 15 Metern entspricht der Höhe der fünfgeschossigen Fassaden. Zu beiden Seiten wird die Straße durch Portiken aus Lärchen-Schichtholz stark verengt, unter denen sich Läden befinden. Eine zweite, etwas schmalere Straße, zweigt in einer leichten Kurve von der ersten ab und endet an der westlichen Spitze des Museums.
Zu ihrer Seite verläuft ein zwei Meter breiter Kanal, der an die Tridentiner Tradition von Wassergräben längs der Hauptstraßen anknüpft. Die meisten der 350 Wohnungen, von denen einige zweigeschossig sind, sammeln sich um zwei dreieckige Höfe. Die Holzstützen setzen sich von den Portiken im Erdgeschoss bis zur Spitze der Gebäude fort und fungieren als Gerüst, hinter dem sich großzügige Terrassen verbergen. Die dahinter liegenden Beton-ober-flächen zeigen sich in dunklem Graublau, die Sonnenblenden sind lindgrün.
Leerstand
Während angeblich die meisten Büro- und Ladenflächen verkauft sind, stehen viele Wohnungen – 35 Prozent des gesamten Bauprogramms – noch leer. Sie sind etwas teurer als vergleichbare Wohnungen im Stadtzentrum, aber der Hauptgrund ist, dass die wohlhabenden Einwohner Trients solche Wohnungen nicht nachfragen.
Sie leben lieber in einem Landhaus und fahren mit dem Auto zur Arbeit in die Stadt, als sich auf einen experimentellen Lebensstil in einem dicht bebauten Viertel einzulassen.
Schön ist der riesige öffentliche Park im unteren, südwestlichen Teil des Geländes. Es gibt wieder einen Zugang zum Fluss, der freilich keine große Schönheit ist, weil ihn die Österreicher Mitte des 19. Jahrhunderts begradigt und damit seiner Auen beraubt haben. Eine Fußgängerbrücke führt zu einem Kohlekraftwerk, das von Roberto Ferrari, Spross einer örtlichen Architektendynastie, gebaut wurde.
Es versorgt die Neubauten mit Wärme. Ein Drittel der in Le Albere benötigten Energie liefern Photovoltaikmodule. Das Quartier wurde mit dem Standard LEED Gold ausgezeichnet.
Fakten
Architekten Piano, Renzo, Genua/Paris
übrigens, die Geschichte Trients ist auch hochinteressant, sie ist sehr europäisch ... Nationalstaaten sind eigentlich eine sehr späte Erfindung ;-) ...
_V0A9934_45-Renzo Piano_pt2
Jean-Baptiste Camille Corot (1796-1875) - River flood (ca. 1850). In the collection of the Museu Calouste Gulbenkian, Lisbon, shown at the Museum's temporary exhibition "Art on Display 1949-1969", winter 2019-2020. The exhibition illustrated the techniques of art exhibition design proposed by various architects (Carlo Scarpa, Lina Bo Bardi, Aldo van Eyck, Alison & Peter Smithson and Franco Albini & Franca Helg) during the 1950´s and 1960´s. Some of these were influential in the design of the Calouste Gulbenkian Museum when it opened in 1969, with museography by Franco Albini. Here a Corot is displayed hanging on a transparent glass panel as proposed by Lina Bo Bardi.
Explored 11-09-2019. Highest position #???
Castle Rising Castle
One of the most famous 12th Century castles in England.
The stone keep, built in around 1140 AD, is amongst the finest surviving examples of its kind anywhere in the country and, together with the massive surrounding earthworks, ensures that Rising is a castle of national importance.
In its time Castle Rising has served as a hunting lodge and a royal residence.
The most famous period in its history was when it came to the mother of Edward III, Queen Isabella, following her part in the murder of her husband Edward II.
The castle passed to the Howard family in 1544 and it remains in their hands today, the current owner being a descendant of William D'Albini II, the Norman baron who raised the castle.
www.english-heritage.org.uk/visit/places/castle-rising-ca...
One of the largest, best preserved and most lavishly decorated keeps in England, surrounded by 20 acres of mighty earthworks.
Building of the castle was begun in 1138 by the Norman lord William d'Albini for his new wife, the widow of Henry I. In the 14th century it became the luxurious residence of Queen Isabella, widow (and alleged murderess) of Edward II.
Owned and managed by Lord Howard of Rising. (English Heritage website)
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
The western façade, certainly richly decorated for an English church, with even a pair of historied capitals (can you spot them?). The oculus is an unfortunate 19th century addition.
The apparel is slightly better than what we have been seeing so far, yet not so great overall. Given the fact that historians tell us that piles of money went into the construction of thus church, we have to come to the conclusion that good cut stone was truly unaffordable, or else that the know-how wasn’t there.
Notice that the southwestern corner pillar is definitely slanting outwards under the weight of the structure above.
Client: Roydale Records
Firm: Kent Henderson Design
CD/Design: Kent Henderson
Illustration: Tom Stack www.stackmatic.com)
Working class birds befittingly grace the cover of this working class bands’ 2004 release – .22, a Chicago group that captures the city’s signature post-punk, Steve Albini-flavored sound. (.22 information at www.roydale.com)
Castle Rising is one of the most architecturally powerful Norman ruins in the country but it also exhibits many ecclesiastical designs.
One of the largest, best preserved and most lavishly decorated keeps in England, Castle Rising near King’s Lynn in Norfolk, has an intriguingly chequered history. Built from 1138 onwards by William d’Albini for his new wife, the widow of Henry I, it has served as a hunting lodge, a royal residence and home to Isabella the mother of Edward III. Implicated in the murder of her husband Edward II, she was exiled here by her son, but lived luxuriously in the apartments she created to the south of the keep.
Castle Rising’s turreted keep boasts ornate Norman architecture and, in its heyday, provided residential accommodation on three levels, with a great hall that spanned both the first and second floors. Although extremely domineering in appearance, the castle is set in a pleasant rural location but hidden from view by 13 acres of massive earthworks. These are topped by curtain walls, of which some fragmented sections remain. At the northern end of the inner bailey are the foundations of an 11th-century Norman chapel and, on the eastern bank, the remains of a rectangular gatehouse.
The castle’s custodian Norman Fahy has investigated its buildings both historically and archaeologically and discovered several interesting anomalies. As it doesn’t appear to defend anything – there are no major roads, crossings or areas of strategic importance nearby (though a painting shows ships in the background, suggesting it was accessible from the sea) – he believes it was once a Romano-British farmstead before becoming a Celtic monastic enclosure.
This theory is backed up by the castle’s many church-like decorations. One of the most elegant is a beautiful decorated frieze on the stairway wall. Unlike Norman castles, it is extremely lavish and replicates the blind arcades more often found in cathedrals and churches. The Norman chevrons around the great hall’s Romanesque doorway, which are repeated on the chancel arch of the chapel and in several nearby churches, continue the theme.
There are many other notable features within the castle, especially in the great hall. The alcove where the lord and his lady sat is clearly visible as are a series of corbel stones. These decoratively carved roof supports depict male figures, one with a hand resting on his chin, the other apparently nursing toothache. Similarly, the main carving above the entrance of the Ante Chapel is a ‘tongue-poker’, a childish way of face-pulling that’s common in many churches of the period.
Gareth Salter
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
An angled view of the western façade, to better appreciate its relief. As is often the case in the UK, this church is still surrounded by its cemetery, contrary to the Continent where hygiene regulations have caused them to disappear in most cases.
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
The church of Saint Lawrence still features its “door of the dead” in the northern wall, framed by a nice arch with the same gear teeth motif we have already seen, and two graceful little columns with the barest hint of sculpted capitals. The wood is most likely not Mediæval, but possibly late Renaissance; however, the ironwork most certainly is, having been re-used when the new door was put in place: look at this gorgeous snakelike motif! Any Slytherins around? :o)
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
The sheltered entrance on the southern side is very nicely decorated with abstract motifs, and even a three-dimensional optical illusion effect in the triple blind arcature above the doorway.
The quality of the stonework on this southern “façade” is slightly better than on the side wall beyond it, but not much, aside from the sculpted stones which remain extremely simple but of excellent quality.
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
The southern base of the triumphal arch looks a lot more stable than the other one I showed yesterday. The rare sculpted capitals show the same sort of half-successful attempts at intricate, Celtic-inspired abstract motifs.
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
Behind the church, the residential area of a typical southern England village in Castle Rising: expansive lawns and well spaced brick cottages.
I tour with a band called SCREAMING FEMALES. This was shot somewhere in remote northern North Dakota after being detained for 6 hours by the Canadian border patrol before ultimately being turned away. The band just released a double live album recorded by Steve Albini with this as the cover. Check it out at dongiovannirecords.com/news/screaming-females-live-at-the...
Christopherpatrickernst.com
chrisfrump.tumblr.com
Screamingfemales.com
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
The northern base of the triumphal arch. Capitals are decorated with abstract, archaic motifs of Celtic (and pagan!) inspiration, not very expertly sculpted. Notice also the pronounced longitudinal canting, the slanting and leaning of almost every element... The camera, once again, is perfectly straight on its tripod, but that’s about the only thing that is.
On the left, you can glimpse the archway that framed what, on the Continent, I would not hesitate to call “door of the dead”.
From near the very end of their set, where like in the Simpson's opening credits a spoof variation occurs. Steve and Bob had already removed the bass drum and cymbols and are about to remove the snare and stool. Todd was left standing without a kit to hit, placed his drumsticks in his pockets and was then turned upside down and carried off stage.
With the live set disassembled, they already had the last word on whether there'd be an encore.
No flash. At ATP curated by Chapman brothers, Camber Sands. Xmas 2004
71 ASTON MARTIN LE MANS 1933
JUAN BATTISTA JORGE SEGALE I
RENZO ALBINI I
2017 Mille Miglia was the first one I took photo's of in Furlo a place with a pass and a tunnel in the Roman via Flaminia . See: 2017 Mille Miglia, Furlo Pass, Italy. I was hooked.
2018 was my second just outside Pesaro . See 2018 Mille Miglia, Pesaro, Italy
2019 my third in Corinaldo, the most beautiful Borgo of The Marche, Italy: 2019 Mille Miglia Corinaldo, Italy
and now
2021 is my fourth. Third leg just Outside Arezzo and 4rth leg in Monza. See: 2021 1000 Mille Miglia Arezzo and Monza, Italy
St Lawrence lies in the heart of the Castle Rising village and can be seen from Castle Rising and the surrounding countryside. It was begun by William d'Albini, Earl of Sussex, shortly after he initiated work on the castle in 1138. The old church at the castle was demolished, thus making it right that he found a new one.
The church makes extensive use of local umber coloured sandstone (Carrstone). Of particular note are the central tower and the north entrance. I particularly like the blue clock on the lower portion of the tower.
Wild Flower Statue Baron, designed by Fern Lough, it is part of the Lincoln Baron's Charter Trail part of the as part of the 800th anniversary celebrations of the Magna Carta. It was located at the junction of Bailgate and Exchequer Gate, in Lincoln, Lincolnshire.
Almost exactly 800 years since King John put his seal to Magna Carta, Lincoln welcomes a reincarnation of the 25 Barons who signed the charter onto the city’s streets. The Trail sees 25 2m-tall sculptures decorated by renowned artists from Lincolnshire and beyond. Local businesses and organisations have worked with the artists to devise a different theme for each Baron. The finished sculptures will be placed around the city centre, creating a colourful and fun trail for visitors to follow. The Barons were on display from the June 13th for three months before being auctioned with all proceeds from the sales donated to The Trussell Trust, the national food bank charity, which also helps people facing hardship in Lincoln.
This Baron represents William d'Albini who was Lord of Belvoir and built Belvoir Castle. He was a prominent member of the rebel barons against King John. He stayed neutral at the beginning of the troubles of King John's reign, only joining the rebels after in 1215. In the war that followed the sealing of the charter, he held Rochester Castle for the barons, and was imprisoned (and nearly hanged) after John captured it. He became a loyalist on the accession of Henry III. William died on 1 May 1236 at his manor of Uffington, near Stamford.
Fern Lough is a Culinary Arts Management graduate, working as a chef and studying her masters. Art has always been her passion and prominent in all aspects of her life. Fern's work is influenced by the anatomy and natural surroundings, which she expresses using various mediums and forms, favouring sculpture and murals.
Fern stated that “The baron was designed to look as though he had been standing in natural surroundings for years, showing the effect of how the plants would have adapted around him. All the flowers featured have been found growing in the wild around Lincolnshire.”
This Baron is sponsored Pennells Garden Centre, a family run garden centre being run by an 8th generation Pennell. They were first established in 1780 as seed merchants.
Arundel Castle, Arundel, West Sussex
Grade I Listed
List Entry Number: 1027926
TQ 0107 1/1
Arundel Castle
26.3.49.
I Lower part of gatehouse possibly late C11, built for Roger de Montgomery, who was granted Arundel by William the Conqueror. Middle stage of gatehouse, keep, and cellars under south-east range appear (stylis- tically) to date from late C12; possibly from tenure of Earl William de Albini. Barbican, upper stage of gatehouse, north-west buttress, and well tower to keep, appear (stylistically) to date from late C13, possibly from time of Richard, 1st Earl of Arundel, who received the grant of a fair to help repair the castle [A Tipping: English Homes, I). Curtain and towers round north end also medieval, but of uncertain date, and restored in late C19 [photograph showing unrestored condition in possession of Arundel Society]. North-east range may have been rebuilt in early C16 [painting in Arundel Castle], possibly by William, 11th Earl of Arundel [Tipping: op.cit.]. The general form of this range is the same as in the early C16. James Gibbs supplied plans for the 8th Duke of Norfolk (who died in 1732) [Gibbs MSS]. This may have been for the south-east range [plan before late C18 rebuilding illustrated in Dallaway "History of Western Sussex": 1836]. North-east, south-east and south-west ranges rebuilt by 11th Duke (succeeded in 1786, died in 1815), keeping to existing outline of buildings [cf. Hollar's view of Arundel, c.1640], Architect initially Francis Hiorn, who died in 1789. Then James Teasdale, otherwise unknown, who signed the plans for the rebuilding illustrated in Dallaway [op.cit.]. (A John Teasdale the Elder, of Greystoke, Cumberland, supplied sculpture for the 11th Duke from 1790 onwards [Gunnis: Dictionary of British Sculptors]). Of this rebuilding only the Library, completed in 1801 [Clifford Musgrave: Arundel Castle], survives. The campaign was completed by 5th June 1815, when the Baron's Hall was first used [Dallaway: op.cit.]. Chapel, Baron's Hall, remainder of south-west range, all of south-east range apart from cellar, and all of north-east range above, and north of the library, rebuilt 1890-1903. Architect Charles Alban Buckler. This rebuilding was largely a thorough- going purge of all the details, substituting C13 ones for Teasdale's C15 ones.
Listing NGR: TQ0191807256
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
In addition to the (rather unusual for a UK Romanesque church) western door, Saint Lawrence features this very nice little vestibule or narthex to its (more usual) southern entrance.
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
As a last photo of Saint Lawrence, this is a wide view of the nave, looking to the West.
Built during the mid–1100s by Norman lord William of Albini II, the church of Saint Lawrence in the village of Castle Rising is hailed in the UK as a grandiose gesture and a prowess of overflowing decorative Romanesque architecture. We connoisseurs of Continental Europe Romanesque will probably not be so enthused, as the decoration of this church is truly not extravagant by our own standards...
Nevertheless, looking at the western façade unmistakably makes me think about those churches in Saintonge, as there is an obvious likelihood, even though Saint Lawrence remains very restrained compared to those.
While the inside was almost entirely redone during Victorian times, and will therefore be much less interesting to us, the outside shows a very pleasant and harmonious church, distinctly English as it may be, and lacking, for example, in the quality of its apparel, even on that vaunted western façade.
In the nave, the woodwork is most likely late Mediæval, and the remaining Romanesque parts center around the triumphal arch and the lovely triple arcade opened in the diaphragm wall above it.