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The Dome of the Rock is an Islamic shrine at the center of the Al-Aqsa mosque compound on the Temple Mount in the Old City of Jerusalem. It is the world's oldest surviving work of Islamic architecture, the earliest archaeologically attested religious structure to be built by a Muslim ruler and its inscriptions contain the earliest epigraphic proclamations of Islam and of the Islamic prophet Muhammad.
The temple is divided into three parts, the oldest of which dates back to the 18th-century reign of King Rajadhi and has a more modest Buddha worked into the structure’s outward-facing architecture. The second element, the giant Buddha statue, was constructed in the 1960s when a penchant for larger-than-life roadside attractions took the world by storm. At 160 feet tall, it literally and figuratively rises above the quagmires of earthly life. Which leads to the third, most overlooked, aspect of Wewurukannala Vihara: in order to meet the big Buddha up-close, visitors must first navigate the Tunnel of Hell.
Down in the tunnel, life-sized models illustrate what will happen should one succumb to all those earthly temptations lining the path to enlightement. It is Buddhist Hell made tangible, played out in cartoonish horror before visitors’ eyes. Highlights include immersion in boiling cauldrons, disembowelment, and sinners being hacked to pieces by human-like demons with fangs.
In Dali city, almost all of the Gazebos had this kind of ancient architecture。The pattern was very unique and handcrafted in a very delicate way。
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London | Architecture | Night Photography
EXPLORE # 16
Photo taken on my trip to Hong Kong in 2007...dedicated to all my contacts living in this great city that i love to photograph again...
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The International Finance Centre (abbr. IFC, branded as "ifc") is an integrated commercial development on the waterfront of Hong Kong's Central District.
A prominent landmark on Hong Kong Island, IFC consists of two skyscrapers, the IFC Mall, and the 55-storey Four Seasons Hotel Hong Kong. Tower 2 is the tallest building in Hong Kong, a title formerly held by Central Plaza. It is the third-tallest building in the Greater China region and the seventh-tallest office building in the world, based on structural heights; by roof height, only the Taipei 101, Shanghai World Financial Center, and Willis Tower exceed it. It is of similar height to the former World Trade Center. The International Commerce Centre, currently under construction above the MTR Kowloon station and scheduled for completion in 2010, will surpass 2IFC in each of these categories.
IFC was constructed and is owned by IFC Development, a consortium of Sun Hung Kai Properties, Henderson Land and Towngas.[2]
The Airport Express Hong Kong Station is directly beneath it.
Two International Finance Centre, completed in 2003, is attached to the second phase of the ifc mall. This 415-meter-tall building, currently Hong Kong's tallest, is quoted as having 88 storeys and 22 high-ceiling trading floors to qualify as being extremely auspicious in Chinese culture. It is, however, short of the magic number, due to the fact that "taboo floors" like 14th and 24th are omitted as being inauspicious - 14 sounds like "definitely fatal" and 24 like "easily fatal" in Cantonese.
The highrise is designed to accommodate financial institutions. For example, the Hong Kong Monetary Authority (HKMA) is located at the 55th floor. It is equipped with advanced telecommunications, raised floors for flexible cabling management, and nearly column-free floor plans. The building expects to accommodate up to 15,000 people. It is one of relatively few buildings in the world equipped with double-deck elevators.
The 55th, 56th and the 77th to 88th floors were bought by the HKMA for US$ 480 million in 2001.[5] An exhibition area, currently containing an exhibit of Hong Kong's monetary history, and a library of the Hong Kong Monetary Authority Information Centre occupy the 55th floor, and are open to the public during office hours.[10]
Despite common practice for owners to allow naming buildings after its important tenants - the building accommodates some very prestigious tenants - the owners decided not to allow renaming of the building in fairness to all.[
en.wikipedia.org/wiki/International_Finance_Centre
According to Emporis, there are 7,650 skyscrapers in Hong Kong, which puts the city at the top of world rankings.[171] The high density and tall skyline of Hong Kong's urban area is due to a lack of available sprawl space, with the average distance from the harbour front to the steep hills of Hong Kong Island at 1.3 km (0.81 mi),[172] much of it reclaimed land. This lack of space causes demand for dense, high-rise offices and housing. Thirty-six of the world's 100 tallest residential buildings are in Hong Kong.[173] More people in Hong Kong live or work above the 14th floor than anywhere else on Earth, making it the world's most vertical city.[27][28]
As a result of the lack of space and demand for construction, few older buildings remain, and the city is becoming a centre for modern architecture. The International Commerce Centre (ICC), at 484 m (1,588 ft) high, is the tallest building in Hong Kong and the third tallest in the world, by height to roof measurement. [174] The tallest building prior to the ICC is Two International Finance Centre, at 415 m (1,362 ft) high.[175] Other recognisable skyline features include the HSBC Headquarters Building, the triangular-topped Central Plaza with its pyramid-shaped spire, The Center with its night-time multi-coloured neon light show, and I. M. Pei's Bank of China Tower with its sharp, angular façade. According to the Emporis website, the city skyline has the biggest visual impact of all world cities. The oldest remaining historic structures including the Tsim Sha Tsui Clock Tower, the Central Police Station, and the remains of Kowloon Walled City were constructed during the 19th century and early 20th century.
en.wikipedia.org/wiki/Hong_Kong
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IFC2 Hong Kong Architecture
A well-preserved town situated on a unique site with outstanding religious heritage features, Le Puy-en-Velay is a haven of peace and a source of spiritual inspiration. Here, visitors can relax and recharge their batteries. Internationally recognised as a starting point for St. James Way (the pilgrimage route to Santiago de Compostela), the town of Le Puy-en-Velay is also a great family holiday location in the centre of the Haute-Loire.
The religious architectural heritage of Le Puy-en-Velay
The sheer majesty of the town is further reinforced by the high cultural quality of its architecture. Be sure to visit the Cathedral of Notre-Dame du Puy, listed as a UNESCO World Heritage site, and the departure for the Way of Saint James pilgrimage route. Inside the cathedral are several interesting works including the statue of the Black Virgin and a 12th century cloister.
Other religious monuments look down over the city. Perched on the Corneille rock is the high statue of Notre-Dame-de-France (the town's protective virgin), and you can't miss the Chapel of Saint Michel d’Aiguilhe towering 82 m (269 ft) high atop "Le Rocher" rock.
An attractive town, Le Puy-en-Velay is also known for its ancient buildings and well preserved architecture. The very stones and paths of the town are a testament to architectural skill. The charming historical streets winding their way up to the cathedral provide a great place to stop off in one of the many restaurants where local specialities are served, including AOC (controlled origin) Le Puy lentils and of course the famous Velay Vervaine, a precious liquor offering digestive benefits (to be consumed in moderation).
In the southeast corner of the Sunalta neighbourhood (also the southwest corner of the Beltline area).
C. J.R. Devaney
The Glasshouse Hotel
Through cutting-edge design and architecture, The Glasshouse has set completely new standards in contemporary, stylish accommodation.
The hotel has 116 bedrooms. Some rooms enjoy a view over the Garavogue River, some feature a balcony.
Some rooms have floor to ceiling windows at the front of the hotel while the deluxe suite has own terrace with panoramic views of Sligo.
With the early morning sun "bang on the nose" , Leander climbs Miles Platting with a Liverpool - Scarborough excursion. The backdrop dominated by the ever increasing high rise architecture, the railway scene will change forever with the imminent arrival of the dreaded " knitting ". The wreath on the front of the loco in respect of retired west coast driver and traction inspector Albert Seymour, in blue and white flowers, the colours of Alberts favourite football team - Manchester City.
Colonial era alleys (18th to 19th century) of the Rif neighbourhood in Otrobanda, one of Willemstad's main Unesco World Heritage districts with historical Dutch-Caribbean architecture.
The Rif (litterally: reef) neighbourhood of the Otrobanda district is perhaps the most charming of all the neighbourhoods of historic Willemstad.
It was formed in the 18th and 19th century and consists of many small alleys with densely built homes of that time. Although some are abandoned and slowly deteriorating under the elements of the tropical climate, many are in a good state and inhabited by a mixture of peoples: mostly locals, but also latinos and Dutch. Wandering through the streets is a sensation, since you feel the heat, the shade, the wind, you hear the tropical birds and Latin music and televisions from inside the homes, and you smell creole food being cooked. Some men like to put a chair outside their houses to watch the day pass by, and they are happy to greet passerbys.
This was since its onset a labourors neighbourhood, although some of these houses border an urban mansion with a typical local courtyard, where some of the elite lived.
This area also gave birth to Carlos Piar, a creole of African, Spanish and Dutch ancestry who fought in the Venezuelan war of Independence and stood up for the rights of people of colour. Others were famous musicians or politicians.
Today it remains a residential area where houses are in a mixed state of occupation and abandonment. It nonetheless represents the most authentic and charming neighbourhoods of Willemstad.
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London | Architecture | Night Photography
Sometimes I do miss the countryside but while in the city, I just like to be sorrounded by glass and tall buildings...;-}
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Canary Wharf is a large business and shopping development in East London, located in the London Borough of Tower Hamlets, centred on the old West India Docks in the London Docklands.
Rivalling London's traditional financial centre, The Square Mile, Canary Wharf contains the UK's three tallest buildings: One Canada Square (sometimes known as the Canary Wharf Tower) at 235.1 m (774 ft); followed by 8 Canada Square and the Citigroup Centre, both at 199.5 m (654 ft).[1] However, according to the official Canary Wharf website,[2][3][4] One Canada Square is 800 ft (244 m). The area is identified in the London Plan as one of 35 major centres in Greater London.
Present day
Canary Wharf tenants include major banks, such as Barclays, HSBC and Citigroup, law firms such as Clifford Chance, as well as news media and service firms, including Thomson Reuters, and the Daily Mirror.
At the end of 2007 the official number of people employed on the estate was 93,000, of whom around 25% live in the surrounding five boroughs. Increasingly Canary Wharf is becoming a shopping destination, particularly with the opening of the Jubilee Place shopping centre in 2004, taking the total number of shops to more than 200 and increasing employment in retail to around 4,500. About 500,000 people each week shop at Canary Wharf.
en.wikipedia.org/wiki/Canary_Wharf
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London Canary Wharf Architecture ~ The Glass Jungle...~
Neon Reflections From First Friday Art Walk in Baker City Oregon
Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, and just exploring downtown Baker City's amazing architecture.
The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.
Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.
For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com
Los Angeles, California. Every time I get to the Getty I'm astounded by the architecture. The architect Richard Meier put incredible lines, windows, angles, curves, and textures in almost every view. You look up, down, across and through in almost any place you can get to and there are things of interest to see.
Looking at the details of this architecture abstractly reminds me of the work of Kandinsky and other Bauhaus painters and architects as well as the Russian Supremists and I wanted to make a small collection to attempt to document that.
Here's the entire set so far: Getty Center Abstractions
drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.Why are onion domes predominant in Russian architecture?
soumis il y a 3 ans par res3k
Does it have any connection to similar domes in mosques?
Onion domes are predominant in Russian architecture because they became an important stylistic component of Russian Orthodox church design. According to what I have read, the dome's importance comes from symbolic and technical aspects. Russian onion domes have complex symbolic associations, from the classic "vault of heaven" to their appearance as tongues of flame, recalling the holy spirit. On the technical side, you have the often repeated theory that the domes were an adaptation to the climate, especially Russia's heavy snowfalls. The wooden construction of the onion dome would also have been a plus for Russian architects, was this material was in greater supply than the stone necessary for traditional, byzantine-style dome construction.One final reason for the predominance of the onion dome in Russian architecture: the origin of the dome and the associations that come with its origin. Russian church architecture, which features the dome most prominently out of all, is heavily influenced by Byzantine architecture. As Orthodox Christianity was the predominant religion, it follows that Russian builders sought to emulate the styles of the center of Orthodox Christianity, namely Constantinople. This architectural tradition places high importance on centrally-planned, domed spaces. This architectural tradition was combined in Russia with the native wooden-building traditions that have much in common with Scandinavia. These traditions stressed complex, creative wooden constructions with strong vertical components such as steeply pitching roofs and elaborate frameworks. The onion dome is a product of the combination of these two traditions. One source, an examination of the origin of the domes by S. V. Zagraevsky, argues that the domes were a Russian development in the 13th to 14th centuries along these lines--that Russian carpenters, skilled in complex woodwork from both building construction and shipbuilding (alluding to Rus's Scandinavian roots) developed the onion dome independently in order to fulfill the need for domes over Byzantine-influenced churches using wooden construction. This form of dome becomes widespread in the medieval period, thus cementing itself into "tradition" and becoming an essential part of Russian architecture.Note on sources and origins: like always, the story is far more complex than can be presented, and I would invite an expert on Russian culture to step in. The origins of the onion dome are shrouded as no original wooden domes from the period survive and scholars are forced to work from written and illustrative documentary evidence, which is open to varied interpretation. What I have read also presents two conflicting stories: that onion domes were a product of Indian and Byzantine sources that combined in the Islamic world, or that they were the products of independent developments that settled on the onion shape to suit their own technical or symbolic needs and which are only distantly connected to other similar designs in Central Europe, Russia, the Middle East, India. What is conclusive is that the widespread use of these domes dates back at least to the 12th-13th centuries. On sources, the most recent source on onion domes in English that I found (thanks to wiki) was Forms of the domes of the ancient Russian temples. Other works, such as National Elements in Russian Architecture and The Origin and the Distribution of the Bulbous Dome date back to the 1940s, but provide good insight into wooden dome architecture (note: these are JSTOR links). The wiki article on the Onion dome has a good introduction on these domes and has a list of sources, although many of them are in Russian.
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[–]intangible-tangerine 1 point il y a 3 ans*
This is a story which begins with early Slavic Christian Religious architecture, which exerted a strong influence on secular architecture on the region. I'm just going to generalise and use 'church' here for all buildings used for Christian religious services, not bothering to distinguish between churches and basilicas and cathedrals and so forth as I don't wish to over complicate matters.
When the Kievan Rus, a confederation of Slavic tribes living in parts of modern day Russia, Belarus and Ukraine, were gradually Christianised from the mid 8th to the early 11th c. they were primarily influenced by missions from the Byzantine Church and so they adapted the Byzantine dome for their own church architecture. However, whereas Byzantine Churches usually featured a large central dome, as can be seen with the most famous example, the Hagia Sophia these early medieval Slavic churches feature several smaller domes with the characteristic bulging onion shape, see the Cathedral of Saint Sophia in Novgorod built in the late 11th c. which may be due to some influence from earlier Slavic pagan architectural styles that are lost to us. Perhaps reflecting earlier buildings with multiple tower structures or bulged roofs.
This onion dome hasn't been completely dominant through all of the history of Russian and Eastern European Christian architecture, during the later medieval period a fashion for pointed roofs emerged, such as that of the 15th c. Spasskaya Tower in Moscow. Nevertheless the onion domed towers continued to be built alongside these. Sometimes the two styles were used simultaneously as seen with this early 16 th church at Ostrov, near Moscow where a pointed roof is topped off with a small dome.
... and so this story continues, waves of architectural fashions such as 17th c Ukrainian Baroque and 19th c Neo-Classical Byzantine sweep through the region, some of which typically incorporate onion domes and some of which don't, but it never disappears from the architects' tool kits. Because it was associated so strongly with the original conversion of the Keivan Rus, regarded as the common ancestor culture of Russia Ukraine and Belarus, it was had strong connotations of connecting later structures to this past and tying them in with a narrative of distinctive Russian/Slavic identity.
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True or not an architect once told me that the shape was heavily influenced by Russian climatology, with significant quantities of snow along the year this shape prevents the snow to accumulate on the roofs hence they would not collapse under the snow weight.You seem to be downvoted as a non-historian, but the hypothesis if very plausible. Initially church architecture in Russia was obviously very influenced by the Byzantine architecture, and domes were either egg-shaped, or even flatter than that (modern reconstruction of the Pirogoshcha Church of Our Lavy in Kiev, Ukraine)). But then in Russia they were quickly replaced by so called "helmet domes" (example: Dormition Cathedral in Vladimir, Russia). And it is this transition that might have been indeed influenced by the simple snow factor.
Starting as of XIII and for sure by XVI century helmet domes gradually evolved into onion domes. I don't know why it happened. Maybe, in a way, it "just happened", because all styles tend to evolve somewhere, and it does not always happen for particular reason, or serve a particular purpose.
I am not quite sure I can endorse what intangible-tangerine said in the comment nearby about secular architecture being an example here. Secular architecture in Russia was overwhelmingly wooden, and the only major type of brick "domes" that evolved from wooden domes is the tent roof church, which was quite popular for a while, but was then officially prohibited in XVII century for some reason, and allowed only for construction of bell-towers. It is rather uncomfortable to make a roundish dome, be it egg-, helmet-, or onion-shape one out of wood (even though it is technically possible). I am also not aware of any evidence for pre-Christian, or secular round dome-like structures in Russian architecture.As for pagan temples, it looks like Slavic pagan shrines were almost always located outdoors. While among Western Slavs some temples might have apparently existed, for some reason in modern reconstructions they are always depicted quite squarish in design (but here I am not sure, as the whole topic of Slavic Paganism is a rather sketchy one, due to a strong influence from romantic neo-pagan groups).
[+]Centurion521 nombre de points du commentaire sous la limite (11 enfants)
www.reddit.com/r/AskHistorians/comments/1gb89y/why_are_on...
An onion dome (Russian: луковичная глава, lúkovichnaya glava; compare Russian: лук, luk, "onion") is a dome whose shape resembles an onion. Such domes are often larger in diameter than the drum upon which they sit, and their height usually exceeds their width. These bulbous structures taper smoothly to a point.It is the predominant form for church domes in Russia (mostly on Russian Orthodox churches) and in Bavaria, Germany (German: Zwiebelturm (literally "onion tower"), plural: Zwiebeltürme, mostly on Catholic churches), but can also be found regularly across Austria, northeastern Italy, Eastern Europe, Mughal India, the Middle East and Central Asia.
Other types of Eastern Orthodox cupolas include helmet domes (for example, those of the Saint Sophia Cathedral in Novgorod and of the Assumption Cathedral in Vladimir), Ukrainian pear domes (Saint Sophia Cathedral in Kiev), and Baroque bud domes (St. Andrew's Church in Kiev).Art historians disagree on when and why onion domes became a typical feature of Russian architecture. Byzantine churches and architecture of Kievan Rus were characterized by broader, flatter domes without a special framework erected above the drum. In contrast to this ancient form, each drum of a Russian church is surmounted by a special structure of metal or timber, which is lined with sheet iron or tiles.By the end of the nineteenth century, most Russian churches from before the Petrine period had bulbous domes. The largest onion domes were erected in the seventeenth century in the area around Yaroslavl, incidentally famous for its large onions. Quite a few had more complicated bud-shaped domes, whose form derived from Baroque models of the late seventeenth century. Pear-shaped domes are usually associated with Ukrainian Baroque, while cone-shaped domes are typical for Orthodox churches of Transcaucasia.Russian icons painted before the Mongol invasion of Rus do not feature churches with onion domes. Two highly venerated pre-Mongol churches that have been rebuilt—the Assumption Cathedral and the Cathedral of St. Demetrius in Vladimir—display golden helmet domes. Restoration work on several other ancient churches revealed some fragments of former helmet-like domes below newer onion cupolasPrior to the eighteenth century, the Russian Orthodox Church did not assign any particular symbolism to the exterior shape of a church.[10] Nevertheless, onion domes are popularly believed to symbolise burning candles. In 1917, noted religious philosopher Prince Yevgeny Trubetskoy argued that the onion shape of Russian church domes may not be explained rationally. According to Trubetskoy, drums crowned by tapering domes were deliberately scored to resemble candles, thus manifesting a certain aesthetic and religious attitude.[11] Another explanation has it that the onion dome was originally regarded as a form reminiscent of the edicula (cubiculum) in the Church of the Holy Sepulchre in Jerusalem. Onion domes often appear in groups of three, representing the Holy Trinity, or five, representing Jesus Christ and the Four Evangelists. Domes standing alone represent Jesus. Vasily Tatischev, the first to record such interpretation, disapproved of it emphatically. He believed that the five-domed design of churches was propagated by Patriarch Nikon, who liked to compare the central and highest dome with himself and four lateral domes with four other patriarchs of the Orthodox world. There is no other evidence that Nikon ever held such a view.brightly painted: their colors may informally symbolise different aspects of religion. Green, blue, and gold domes are sometimes held to represent the Holy Trinity, the Holy Spirit, and Jesus, respectively. Black ball-shaped domes were once popular in the snowy north of Russia.
Discover the portuguese architecture, the other face of the iberian architecture. I travelled along the Atlantic in search of key elements, shapes and perspectives. Order, geometries and proportions unite with the human presencies creating an almost magical result.
I learned about the recent history of Portuguese architecture, the most famous works and the less- known faces of these and other important architects. From Porto to Lisbon, land, sea, landscape and architecture; from the Tajo River to the Duero, from the Iberian land to the Atlantic Ocean, I was able to discover and enjoy the magical and unforgettable cities, nearby but also unknown.
I have visited emblematic buildings and the latest construction projects in a country that has been at the top of the architectural world for decades, from buildings with simple lines to the precise use of light.
nrhp # 86003178- The Ayers Bank Building is a historic bank building located at 200 West State Street in Jacksonville, Illinois. This site is believed to have been continuously associated with banking since 1832, longer than any other site in Illinois.
Banking operations at the building site began with David Ayers who operated a merchant bank out of his drug store in the 1830s, and the Ayers family continued banking at this site throughout the 19th century. In 1910, when Millard Fillmore Dunlap and Andrew Russel bought a controlling interest in the business, Ayers Bank was one of the state's leading financial institutions.[3] Dunlap and Russel hired architect Jarvis Hunt of Chicago to build the Ayers Bank Building on the same site where David Ayers had begun his banking business.
The bank continued to prosper until the 1930s, when Dunlap and Russel were convicted of illegal banking practices and went to prison. Depositors received 33 cents on the dollar and the federal government closed the bank in November 1932.
The Farmers State Bank & Trust Company bought the building for $53,000 at a foreclosure sale in 1939. The upper floors were rented to a series of dentists, physicians, and other professionals until 1985, when Farmers renovated the entire building for its exclusive use. As of 2017, the bank still has its headquarters at this site.
The building was added to the National Register of Historic Places on November 20, 1986.
Building architecture
The Ayers Bank Building is the tallest building in downtown Jacksonville; it is 110 ft (34 m) tall and has eight stories. The building was the first steel-frame and reinforced concrete structure in Jacksonville. The building is in the Renaissance Revival style with a brick and cut stone exterior and a terra cotta egg-and-dart cornice.
fron Wikipedia
A man in a moment of silence in the garden of Kyoto's oldest Zen temple, Kenni-ji. Founded in 1202 by the priest Eisai, it was patterned after Bai-zhang-shan, China's first Zen monastary, in accordance with the Song dynasty style of architecture.
The garden is done in the " dry mountains and water style" often found in Zen temples. It seeks to achieve the effect of an ocean or lake dotted with mountains without the actual use of water (represented by the raked stones). It also uses the "borrowed scenery" technique, borrowing the large hall behind the garden to enhance the overall view.
For Elishams (^-^)
First Friday Art Walk in Baker City Oregon
A beautiful evening celebrating the arts during the First Friday Art Walk and the annual Little Big Show in historic downtown Baker City, Oregon, multiple gallery openings, live music, and just exploring downtown Baker City's amazing architecture.
The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.
Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.
For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com
The Downtown East St. Louis Historic District was determined to be locally significant for the National Register of Historic Places (NRHP) under Criterion A for Commerce & Criterion C for Architecture. The district is the last remaining contiguous group of cultural resources related to the twentieth century economic growth of East St. Louis, Illinois. In the first three decades of the twentieth century, two cities were growing rapidly on the banks of the Mississippi River below its confluence with the Missouri. While the fame & fortune of St. Louis was already well assured, its neighbor across the river, East St. Louis, was an insurgent urban force. The emergence was staggering: in 1900, East St. Louis had a mere 29,734 residents, but by 1930 that number was 74,397. Between 1900 and 1928, downtown East St. Louis was remade from a modest city center into a central business district built on a scale anticipating future growth. The core of downtown East St. Louis gave rise to buildings of as much architectural refinement as contemporary buildings in St. Louis, but with a distinctly local mark. East St. Louis’ embrace of urban modernity would be shaped by local designers like Albert B. Frankel and J.W. Kennedy, St. Louis’ Mauran, Russell & Garden and William B. Ittner, and Kansas City’s Boller Brothers. The remaining architecture of downtown East St. Louis shows signs of open experimentation, like the Murphy Building’s bakery brick façade, the Ainad Temple’s boldly Moorish style, and the Sullivanesque ornamentation of the Spivey Building, alongside many examples of traditional one & two-part commercial blocks. By 1930, downtown East St. Louis could boast a modern air-conditioned movie palace seating over 1,700; a hotel capable of hosting statewide conventions; a skyscraper employing the design tenets of the progressive Prairie School; well-designed banks; office buildings of all sizes & styles; and department stores & other retailers. In 1960, with a peak population of over 82,000 residents, East St. Louis publicly was named the “All America City” but the city nearly immediately began a precipitous decline. The period of significance for the NRHP begins in 1900, when the oldest building likely was built, through 1960, when the decline of the District became evident.
The First National Bank Building, originally constructed in 1906 & renovated in 1927, is a five-story brick building located at the northwest corner of Missouri & Collinsville Avenues. The double-height first story is clad in concrete with a narrow spiral-carved pillar at each of the three corners of the building and a band of granite around the base. Tall round-arched window openings glazed with fifteen panes of glass flank each elevation: seven along Collinsville Ave and five along Missouri Ave. The concrete arched lintels are carved with an alternating circle & floral motif. The left (west) & right window bays along Missouri Ave and the left (south) window bay along Collinsville are distinct from the others because they are entryway bays: six panes of glass fill the upper portion of the arch above a panel of etched granite that infills the space above the glass doorway below. The left doorway on the south elevation is located in a recess and has a large dark green granite infill above its transom, whereas the two doors at the corner are flush with the elevation and have metal “First National Bank” letters attached to the granite above the transom. A curved and intricately carved concrete keystone is located at the top of each window arch. A terra cotta dripstone protrudes from the elevation above the top of the first-floor windows and forms a strong visual division. Above the dripstone the building is clad in brick. There is a rowlock course above each floor of windows and a diaper pattern across the top of the building between the fifth-floor windows and the terra cotta cornice. While this diaper pattern runs across the entire east elevation, it only spans the rightmost bay of the south elevation and not the western portion of the building that was added at a later date. The cornice is supported by a series of rectangular terra cotta dentils that are mirrored in a series of triangular finials above the protruding shelf of the cornice. There are five two-window bays along each floor of the Missouri Ave elevation and seven along Collinsville Ave that align with the large first-floor windows. There is a narrow sill below each window. A large vertical “1st Illinois Bank” sign is attached perpendicularly to the corner of the building between the first & second floors with a copper clock hanging below (at the time of this writing for NRHP listing but now reads Lindell Bank). The building is attached to its two-story neighbor to the north, so only the windows of the upper three floors are visible.
The Downtown East St. Louis Historic District was added to the NRHP on September 17, 2014. All the information above was borrowed from the original documents submitted to for listing consideration and can be found here:
npgallery.nps.gov/NRHP/GetAsset/84aa7a4b-9371-491b-b0fd-f...
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/
Himeji Castle (姬路城), Himeji city (姫路市), Japan - it is regarded as the finest surviving example of prototypical Japanese castle architecture. The castle is frequently known as "White Egret Castle" or "White Heron Castle" because of its brilliant white exterior and supposed resemblance to a bird taking flight. It dates to 1333, when Akamatsu Norimura(赤松 則村) built a fort on top of Himeyama hill. The fort was dismantled and rebuilt as Himeyama Castle in 1346, and then remodeled into Himeji Castle two centuries later. Himeji Castle was then significantly remodeled in 1581 by Toyotomi Hideyoshi(豐臣 秀吉), who added a three-story castle keep. In 1600, Tokugawa Ieyasu(徳川家康) awarded the castle to Ikeda Terumasa for his help in the Battle of Sekigahara, and Ikeda completely rebuilt the castle from 1601 to 1609, expanding it into a large castle complex. It also is the largest and most visited castle in Japan, and it was registered in 1993 as one of the first UNESCO World Heritage Sites in the country.
The St. Marys Town Hall was erected in 1891 on the former site of a two storey hotel that burned down in 1889. The building committee of the day saw the fire as an opportunity to rebuild the Town Hall as a monumental building that would stand the test of time and instil a sense of great pride in the community. The Town Council took heed of this recommendation and the building remains an iconic structure within the Town of St. Marys. The St. Marys Town Hall has operated as the offices for municipal services for well over 100 years.
Built of local limestone with dichromatic red sandstone accents from a plan created by Toronto architect George W. Gouinlock, the hall is composed of a five storey tower, a turret and a smaller body with a gable roofline which abuts both Queen and Church Streets. Characteristic of Richardsonian Romanesque architecture, the hall features round headed windows and arches, rusticated masonry and recessed windows and doorways with contrasting stonework above. Other noteworthy features include the multi arched portico surrounding the entrance on the facade and the checkerboard effect evident on the facade.
Situated on a prominent corner within the downtown area, the Town Hall's tower and roof dominate the St. Marys skyline. The close proximity of the building to the St. Marys Public Library, another heritage building constructed with similar materials, contribute significantly to the strong heritage identity of the downtown area.
A westbound late-afternoon SEPTA train approaches its station stop at Strafford, Pennsylvania. With its Victorian gingerbread architecture, the former PRR station at Strafford is one of the Pennsy’s most attractive suburban structures.
I just found out that a dear friend has left my heart home, returning to her home town and family. It was interesting to hear her reason why. Because it so closely mirrored mine. I still love New Orleans and almost everything it has to offer. (This does NOT include the nonstop humidity, the bigass flying cockroaches, and the swarming termites.) But the oysters as big as my palm, the crawfish étouffe, the gumbo, the colourful architecture, the history steeped in tragedy, the sultry jazz, the vampire lore, the witchery, and, mostly, the warmth and unbelievable strength of NOLA natives will always claim a huge part of my heart and soul.
This was taken on an early morning the year I decided to move there. A stroll along Royal Street with its amazing shops and reflections.💜💛💚
St Johannes Kyrka (St John's Church) in Rådmansvången a residential and business district of Malmö the capital of Scania, in Øresund, Sweden.
In 1901 the drawings were approved for a new church, which would relieve St. Peter's and St. Paul's parishes, where the population growth was large. Construction started in 1903, with a planned completion date of 1906, which was when St. John's Parish was founded. (That year is engraved in the sandstone above the main entrance). However, construction was delayed and the parish had to hold their first services in St. Paul's Church.
The church was finally inaugurated by Bishop Gottfrid Billing on Holy Trinity Day, June 1, 1907. Designed in the Art Nouveau style, the church distinguishes itself considerably from those built in the new Gothic style around the same time. Art Nouveau had just become fashionable in Sweden and followed the National Romantic currents of the time. Architecturally, the Art Nouveau style meant soft, rounded forms and St. John's Church certainly shows examples of this.
The church was erected in red brick on a granite base and the roof has enamel tiling. In all, there are approximately 20 different kinds of natural stone in the church's ornaments. To mark the arrival of a new era, the architect did not place the tower and the armoury on the west, as was the tradition, but on the north side of the church, just beside the sanctuary.
On the pulpit, there are five sections which are made of oak, carved by the sculptor Carl Andersson. These carvings are a description of the life of Jesus, showing the stable with Mother Mary and the Child Jesus, Jesus at the age of twelve in the temple, Jesus' baptism, the bearing of the cross and Jesus leaving the open grave.
Information Source:
Im Hintergrund sieht man das Dampfmaschinenhaus für den Betrieb der Brunnen im Park Sanssouci, das wegen seiner Architektur auch als "Moschee" bekannt ist. Die Weltkugel wird aus zwei sich kreuzenden Schriftbändern gebildet. Ein Satz von Karl Marx aus der 11. Feuerbachthese windet sich spiralförmig um die Skulptur: „Die Philosophen haben die Welt nur verschieden interpretiert, es kommt aber darauf an, sie zu verändern.“. Gekreuzt wird er vom Schlusssatz aus Faust II von Johann Wolfgang von Goethe: „Alles Vergängliche ist nur ein Gleichnis.“ Die technische Umsetzung des Entwurfs wurde von der Potsdamer Werkstatt Ulrich Dalichow ausgeführt.
In the background you can see the steam engine house for operating the fountains in Sanssouci Park, also known as the "mosque" because of its architecture. The globe is formed by two intersecting bands of writing. A sentence by Karl Marx from the 11th Feuerbach Thesis spirals around the sculpture: "The philosophers have only interpreted the world, in various ways; the point is to change it.". It is crossed by the final sentence from Faust II by Johann Wolfgang von Goethe: "All of the transient, is parable, only." The technical implementation of the design was carried out by the Potsdam workshop Ulrich Dalichow.
Autumn sunset throws light all around the set-back Plaza Hotel courtyard along 5th Avenue in NYC, NY.
Traffic lines up along Central Park South at bottom of image.
Architecture fans will spot Phillip Johnson's AT&T Tower design, with its' distinctive 'Chippendale' tower-top.
From royal flora ratchaphruek.
This building featured Lanna architecture, the architectural style of northern Thailand; inside, visitors saw pictures of King Bhumibol's works and his dedication.
"Over the years, Vitra accumulated a growing collection of chairs and other furniture. With the aim of making the collection accessible to the public, a shed-like structure was initially envisioned for storage and exhibition purposes. Yet during the planning of Frank Gehry’s first building in Europe, the original function was expanded. A museum was established as an independent foundation dedicated to the research and popularisation of design and architecture: the Vitra Design Museum.
Despite its modest scale, the Vitra Design Museum building emerged as a programmatic work of deconstructivism, a collage of towers, ramps and cubes. Its expressive forms are not arbitrary, but are determined by their function and the lighting. The exhibition area totalling some 700 square metres extends over two floors, with daylight entering the roof area through large windows." www.vitra.com/en-us/campus/architectur
Waiting For Walking Man. © Copyright 2022 G Dan Mitchell.
New Yorkers (and a few tourists) queue up at a crosswalk in Manhattan.
After promising New York street photography for the past few days — and then sharing cool mountain images instead — here’s a photograph from our recent, late-August visit to Manhattan. (This was the same trip that eventually took us up to Vermont woods. ) Our previous New York City visit was last winter, when the city was in the throes of a very bad peak in the covid epidemic. At that time the whole place seemed almost oppressive. This trip felt different — more like the New York we remember from the before times. It is still not back to normal, but we were able to get out and walk a lot and the sense of dread that was in the air last winter was gone.
I’m fascinated by almost everything visual in Manhattan — the crowds, individuals, the architecture, the urban landscape, and more. I almost always walk around with a camera handy and often keep it literally in hand. That was the case as we walked through a busier section of town and I photographed this group of people queued up at the crosswalk. A closer look reveals quite a variety of people and appearances — there’s a shirtless guy int he crosswalk at left, the anxious people trying to get a head start on crossing the street, the woman near the left with the 1000 mile stare, one guy with a mask on, and more.
G Dan Mitchell is a California photographer and visual opportunist. His book, “California’s Fall Color: A Photographer’s Guide to Autumn in the Sierra” is available from Heyday Books, Amazon, and directly from G Dan Mitchell.
St. Mary's Cathedral (東京カテドラル聖マリア大聖堂 Tōkyō Katedoraru Sei Maria Daiseidō) is the seat of the Roman Catholic Archdiocese of Tokyo. It is located in the Sekiguchi neighborhood of Bunkyo, Tokyo, Japan.
History
The original wooden structure, constructed in 1899 in the Gothic style, was destroyed during the air raids on Tokyo during World War II. The present church, designed by Kenzo Tange, was completed in 1964. Tange was assisted by Wilhelm Schlombs, architect to the Archdiocese of Cologne, construction engineer Yoshikatsu Tsuboi, who had worked with Tange on previous projects, and Swiss architect Max Lechner.
Architecture
The layout of the building is in the form of a cross, from which eight hyperbolic parabolas rise in a manner similar to the slightly later landmark cathedral located in San Francisco, also referred to as St. Mary's Cathedral. The parabolas open upwards to form a cross of light, which continues vertically along the length of the four facades. To this rhomboid volume other secondary constructions are added, including the baptistry and the baptismal font. The rectangular shapes contrast with the symbolic character of the cathedral. The exterior cladding is made of stainless steel.
Source: Wikipedia
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London | Architecture | Night Photography
London Architecture Gherkin and St Andrew Undershaft Church
The Vyne is a Grade I listed 16th-century country house in the parish of Sherborne St John, near Basingstoke, Hampshire. The house was first built circa 1500–10 in the Tudor style by William Sandys, 1st Baron Sandys, Lord Chamberlain to King Henry VIII. In the 17th century it was transformed to resemble a classical mansion. Today, although much reduced in size, the house retains its Tudor chapel, with contemporary stained glass. The classical portico on the north front was added in 1654 to the design of John Webb, a pupil of Inigo Jones, and is notable as the first portico in English domestic architecture.
The former brewhouse and laundry form the north side of the courtyard adjacent to the house. These have some 16th Century timbers, and were either adapted from an exiting Tudor building, or built using salvaged materials.
Stirling Castle, located in Stirling, is one of the largest and most important castles in Scotland, both historically and architecturally. The castle sits atop Castle Hill, an intrusive crag, which forms part of the Stirling Sill geological formation. It is surrounded on three sides by steep cliffs, giving it a strong defensive position. Its strategic location, guarding what was, until the 1890s, the farthest downstream crossing of the River Forth, has made it an important fortification in the region from the earliest times.
Before the union with England, Stirling Castle was also one of the most used of the many Scottish royal residences, very much a palace as well as a fortress. Several Scottish Kings and Queens have been crowned at Stirling, including Mary, Queen of Scots, in 1542, and others were born or died there.
Williams College, established in 1793, is one of the most beautifully designed campuses I've ever visited. The early planners eschewed the traditional collegiate
quadrangle organization, choosing to freely site buildings among the hills. Later construction tended to cluster around Main Street in Williamstown. The
Olmsted Brothers (the sons of the eminent landscape architect Frederick Law Olmsted) played a large part in shaping the campus design and architecture.
The College occupies 1st place in U.S. News & World Report 's 2014 ranking of the 266 liberal arts colleges in the United States. Forbes magazine ranked Williams the best undergraduate institution in the United States in its 2014 publication of America's Top Colleges.
Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" are actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century.
The Jain caves at Ellora belong to the ninth and tenth centuries. They all belong to the Digambara sect.[13] Jain caves reveal specific dimensions of Jain philosophy and tradition. They reflect a strict sense of asceticism – they are not relatively large as compared to others, but they present exceptionally detailed art works.
Parma, Italy
The Baptistery of Parma (Italian: Battistero di Parma) is a religious edifice in Parma, northern Italy. Architecturally, the baptistery of Parma Cathedral marks a transition between the Romanesque and Gothic styles, and it is considered to be among the most important Medieval monuments in Europe.
The Baptistery was commissioned to Benedetto Antelami by the City Council of Parma in 1196. The outside of pink Verona Marble is octagonal. The inside contains sixteen arches, forming alcoves each containing a painted scene. All these are 13th and 14th century frescoes and paintings. The most striking part of the Baptistery, however, is its painted domed ceiling. Sixteen rays come out of the center of the ceiling, which each correspond to the arches.
However, problems were posed over time as the paintings were not true frescoes. The paint would start to come off the walls and would be literally hanging on. Due to this, the Baptistery had to be painstakingly consolidated and restored with syringes and spatulas.
The Vyne is a Grade I listed 16th-century country house in the parish of Sherborne St John, near Basingstoke, Hampshire. The house was first built circa 1500–10 in the Tudor style by William Sandys, 1st Baron Sandys, Lord Chamberlain to King Henry VIII. In the 17th century it was transformed to resemble a classical mansion. Today, although much reduced in size, the house retains its Tudor chapel, with contemporary stained glass. The classical portico on the north front was added in 1654 to the design of John Webb, a pupil of Inigo Jones, and is notable as the first portico in English domestic architecture.
The circular two-storey red brick summerhousedates from the 17th Century, and was possibly built for Chaloner Chute by John Webb (its roof timbers have been dated to 1632; this would make it one of the earliest classical style buildings in Britain). It formed the eastern one of a pair, shown in a painting of 1756 by J H Muntz, which were features in a larger, formal garden that was removed, with the western pavilion, in the mid to late 18th Century.
First Friday Art Walk in Downtown Baker City Oregon
Celebrating the arts during the First Friday Art Walk in historic downtown Baker City, Oregon, multiple gallery openings, and just exploring downtown Baker City's amazing architecture.
The First Friday Art Walk is one of numerous events celebrating the arts throughout Baker County. Other events include the Baker Open Artists Studio Tour in October, the monthly Thursday Art Night at the historic Eltrym Theater, the We Like ‘em Short Film Festival in August, and the Great Salt Lick Art Auction in September.
Visitors will find numerous art galleries throughout Baker City’s historic downtown including the Crossroads Carnegie Art center in the restored Carnegie Library building.
For more information about First Friday Art Walk or other art events and galleries throughout Baker County Oregon visit the Baker County Tourism website at www.travelbakercounty.com
The University of Virginia (UVA) is located in Charlottesville. It was founded in 1819 by Thomas Jefferson.
The university (and Monticello) are one of only three UNESCO World Heritage Sites in the US.
My son, Brian, and his family are standing on the lawn in front of the Rotunda, which was designed by Thomas Jefferson and completed in 1826. It is an example of Palladian architecture.
The Rotunda is one of the original buildings and was the library. It is the centerpiece of the lawn.
Brian and his wife, Megan, met while students at UVA.
Polperro village architecture, the harbour at low tide. This small fishing town is famous for it's former smuggler past but these days is a big tourist attraction
Cornwall, England, UK. Sony A6000
Mehrere Bundesländer, nicht alle, veranstalten in unregelmäigen Abständen Landesgartenschauen, bekannt unter der Abkürzung LAGA. In Sachsen findet sie 2022 vom 23. April bis 9. Oktober in der durch ihre Renaissancearchitektur bekannten Stadt Torgau an der Elbe statt. Der größte Bereich der LAGA ist der seit dem 19. Jahrhundert bestehende Stadtpark auf dem Glacis der ehemaligen Festung Torgau. Die Festung Torgau entwickelte sich im 17. und 18. Jahrhundert aus einer Erweiterung der mittelalterlichen Stadtmauer. 1811 wurde sie als sächsische Festung unter König Friedrich August I. auf Anforderung Napoleon Bonaparte ausgebaut. Nach Ende der Befreiungskriege musste Torgau 1815 vom Königreich Sachsen an Preußen übergeben werden. Die Festung wurde nun als preußische Festung weiter ausgebaut, bis sie 1889 aufgegeben und in den folgenden Jahrzehnten größtenteils abgerissen wurde. Der Stadtpark, den wir vor fünf Jahren zuletzt gesehen hatten, wurde durch Blumenbeete, einen Ornissteg genannten Steg zur Beobachtung der Vögel auf dem See und erneuerte Wege deutlich und nachhaltig aufgewertet. Daneben gibt es den "Jungen Garten" mit Spielplätzen, Sport- und Skate-Anlagen, das neu erschlossene Erholungsgelände der Eichwiese, durch das man zu den Elbwiesen gelangt mit einem Aussichtsturm und ein kleineres Areal am Weg von der Elbe zum Schloss mit einem Konzertplatz und einer Dahlenschau.
Several German federal states, not all, hold state garden shows at irregular intervals, known by the abbreviation LAGA. In Saxony, it is being held in 2022 from 23 April to 9 October in the town of Torgau on the Elbe, famous for its Renaissance architecture. The largest area of the LAGA is the city park, which has existed since the 19th century on the glacis of the former Torgau Fortress. Torgau Fortress developed in the 17th and 18th centuries from an extension of the medieval city wall. In 1811 it was expanded as a Saxon fortress under King Friedrich August I at the request of Napoleon Bonaparte. After the end of the Napoleonic Wars, Torgau had to be handed over from the Kingdom of Saxony to Prussia in 1815. The fortress was now further developed as a Prussian fortress until it was abandoned in 1889 and largely demolished in the following decades. The city park, which we last saw five years ago, has been significantly and sustainably upgraded with flower beds, a footbridge called Ornissteg for bird watching on the lake and renewed paths. In addition, there is the "Young Garden" with playgrounds, sports and skating facilities, the newly developed recreational area of the Eichwiese (Oak Meadows), through which one can reach the Elbe meadows with a lookout tower, and a smaller area on the path from the Elbe to the Renaissance castle with a concert area and a dahlia show.
The Cathedral of the Dormition (Успенский Собор) is the mother church of Muscovite Russia. The church stands on the Cathedral Square at the Moscow Kremlin and was built in 1475–1479 by the Italian architect Aristotele Fioravanti.
In the 14th century, Metropolitan Peter persuaded Ivan I that he should build a cathedral to the Holy Virgin in Moscow like the Cathedral of the Dormition in the capital city Vladimir. Construction of the cathedral began on August 4, 1326. In the following year, Moscow became the capital of the Vladimir-Suzdal principality, and later of all Rus.
By the end of the 15th century the old cathedral had become dilapidated, and in 1472 the Pskov architects Kryvtsov and Myshkin began construction of a new cathedral. Two years later, the building was nearing completion when it suddenly collapsed because of an earthquake, an extremely rare event in Moscow.
Ivan III then invited Aristotele Fioravanti, a celebrated architect and engineer from Bologna, Italy, to come to Moscow and entrusted him with the task of building the cathedral from scratch in the traditions of Russian architecture. The cathedral in Vladimir was once again taken as a model for the building, and so Fioravanti travelled to Vladimir in order to study Russian methods of building. He designed a light and spacious masterpiece that combined the spirit of the Renaissance with Russian traditions.
The foundation for the new cathedral was laid in 1475, and in 1479 the new cathedral was consecrated by Metropolitan Geronty. The interiour was painted with frescoes and adorned with many holy images, including Theotokos of Vladimir and the Blachernitissa.
In 1547 the coronation of the first Russian Tsar, Ivan the Terrible, took place in this cathedral. From 1721 it was the scene of the coronation of the Russian emperors. The ritual installation of metropolitans and patriarchs of the Russian Orthodox Church also took place in this cathedral, and their tombs are to be found here. The patriarchate was abolished by Peter the Great and only restored after February Revolution of 1917.
On November 21, 1917 the cathedral was the setting for the installation of Tikhon (Belavin), the Moscow metropolitan, as patriarch. Subsequently he was canonized. After the transfer of the Bolshevik government to Moscow, services in the Kremlin cathedrals were prohibited. It was only with Lenin's special permission that the final Easter service was held in 1918. The final moments of this Easter service was the subject of an unfinished painting by Pavel Korin entitled Farewell to Rus.
There is a legend that in the winter of 1941, when the Nazis had already reached the threshold of Moscow, Joseph Stalin secretly ordered a service to be held in the Dormition Cathedral to pray for the country's salvation from the invading Germans. In 1990 the Dormition Cathedral was returned to the church, although a large museum still operates within it.
On the left side of The Cathedral of the Dormition stands Church of the Deposition of the Robe and to the right Church of the Twelve Apostles.
HDR made from three handheld shots, AEB -2, 0 +2. Equipment: Canon EOS 500D and EF-S10-22mm f/3.5-4.5 USM. Processed with Photomatix Pro 4.0, Photoshop Elements 7.0, Topaz Adjust 4 and Noise Ninja.
Please don't use my photos without my permission!
More Essex Churches
These are more examples of Essex Church images that show the Architecture, the Interiors, the Exteriors and especially the Stained Glass Windows that I have taken over the last year or two. Hope you enjoy them as much as I did visiting them.
Copford is a village 6.3 miles from Colchester. St Michael and All Angel’s church was built between 1125-30, possibly as a chapel for the bishop’s of London. There are a number of clues that support this fact. The whole church, including the vault was completely painted although not all of these wonderful works of art exist today. It’s definitely worth the trip to see them. Another item of interest is the mosaic floor in the chancel and around the pulpit that was made by female convicts. The west window is by Clayton & Bell in 1886, whilst in the Apse the north window is by Daniel Bell in 1872.
There are also 4 commonwealth war graves in the churchyard.
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ALBANIA
Albanian Trilogy: A Series of Devious Stratagems
Armando Lulaj
Commissioner: Ministry of Culture. Curator: Marco Scotini. Deputy Curator: Andris Brinkmanis. Venue: Pavilion at Arsenale
ANDORRA
Inner Landscapes
Roqué, Joan Xandri
Commissioner: Henry Périer. Deputy Commissioner: Joana Baygual, Sebastià Petit, Francesc Rodríguez
Curator: Paolo de Grandis, Josep M. Ubach. Venue: Spiazzi, Castello 3865
ANGOLA
On Ways of Travelling
António Ole, Binelde Hyrcan, Délio Jasse, Francisco Vidal, Nelo Teixeira
Commissioner: Ministry of Culture, Rita Guedes Tavares. Curator: António Ole. Deputy Curator: Antonia Gaeta. Venue: Conservatorio Benedetto Marcello - Palazzo Pisani, San Marco 2810
ARGENTINA
The Uprising of Form
Juan Carlos Diste´fano
Commissioner: Magdalena Faillace. Curator: Mari´a Teresa Constantin. Venue: Pavilion at Arsenale – Sale d’Armi
ARMENIA, Republic of
Armenity / Haiyutioun
Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brazil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK
Commissioner: Ministry of Culture of the Republic of Armenia. Deputy Commissioner: Art for the World, Mekhitarist Congregation of San Lazzaro Island, Embassy of the Republic of Armenia in Italy, Vartan Karapetian. Curator: Adelina Cüberyan von Fürstenberg. Venue: Monastery and Island of San Lazzaro degli Armeni
AUSTRALIA
Fiona Hall: Wrong Way Time
Fiona Hall
Commissioner: Simon Mordant AM. Deputy Commissioner: Charles Green. Curator: Linda Michael. Scientific Committee: Simon Mordant AM, Carolyn Christov-Bakargiev, Max Delany, Rachel Kent, Danie Mellor, Suhanya Raffel, Leigh Robb. Venue: Pavilion at Giardini
AUSTRIA
Heimo Zobernig
Commissioner: Yilmaz Dziewior. Curator: Yilmaz Dziewior. Scientific Committee: Friends of the Venice Biennale. Venue: Pavilion at Giardini
AZERBAIJAN, Republic of
Beyond the Line
Ashraf Murad, Javad Mirjavadov, Tofik Javadov, Rasim Babayev, Fazil Najafov, Huseyn Hagverdi, Shamil Najafzada
Commissioner: Heydar Aliyev Foundation. Curators: de Pury de Pury, Emin Mammadov. Venue: Palazzo Lezze, Campo S.Stefano, San Marco 2949
Vita Vitale
Edward Burtynsky, Mircea Cantor, Loris Cecchini, Gordon Cheung, Khalil Chishtee, Tony Cragg, Laura Ford, Noemie Goudal, Siobhán Hapaska, Paul Huxley, IDEA laboratory and Leyla Aliyeva, Chris Jordan with Rebecca Clark and Helena S.Eitel, Tania Kovats, Aida Mahmudova, Sayyora Muin, Jacco Olivier, Julian Opie, Julian Perry, Mike Perry, Bas Princen, Stephanie Quayle, Ugo Rondinone, Graham Stevens, Diana Thater, Andy Warhol, Bill Woodrow, Erwin Wurm, Rose Wylie
Commissioner: Heydar Aliyev Foundation. Curators: Artwise: Susie Allen, Laura Culpan, Dea Vanagan. Venue: Ca’ Garzoni, San Marco 3416
BELARUS, Republic of
War Witness Archive
Konstantin Selikhanov
Commissioner: Natallia Sharanhovich. Deputy Commissioners: Alena Vasileuskaya, Kamilia Yanushkevich. Curators: Aleksei Shinkarenko, Olga Rybchinskaya. Scientific Committee: Dmitry Korol, Daria Amelkovich, Julia Kondratyuk, Sergei Jeihala, Sheena Macfarlane, Yuliya Heisik, Hanna Samarskaya, Taras Kaliahin, Aliaksandr Stasevich. Venue: Riva San Biagio, Castello 2145
BELGIUM
Personnes et les autres
Vincent Meessen and Guests, Mathieu K. Abonnenc, Sammy Baloji, James Beckett, Elisabetta Benassi, Patrick Bernier & Olive Martin, Tamar Guimara~es & Kasper Akhøj, Maryam Jafri, Adam Pendleton
Commissioner: Wallonia-Brussels Federation and Wallonia-Brussels International. Curator: Katerina Gregos. Venue: Pavilion at Giardini
COSTA RICA
"Costa Rica, Paese di pace, invita a un linguaggio universale d'intesa tra i popoli".
Andrea Prandi, Beatrice Gallori, Beth Parin, Biagio Schembari, Carla Castaldo, Celestina Avanzini, Cesare Berlingeri, Erminio Tansini, Fabio Capitanio, Fausto Beretti, Giovan Battista Pedrazzini, Giovanni Lamberti, Giovanni Tenga, Iana Zanoskar, Jim Prescott, Leonardo Beccegato, Liliana Scocco, Lucia Bolzano, Marcela Vicuna, Marco Bellagamba, Marco Lodola, Maria Gioia dell’Aglio, Mario Bernardinello, Massimo Meucci, Nacha Piattini, Omar Ronda, Renzo Eusebi, Tita Patti, Romina Power, Rubens Fogacci, Silvio di Pietro, Stefano Sichel, Tino Stefanoni, Ufemia Ritz, Ugo Borlenghi, Umberto Mariani, Venere Chillemi, Jacqueline Gallicot Madar, Massimo Onnis, Fedora Spinelli
Commissioner: Ileana Ordonez Chacon. Curator: Gregorio Rossi. Venue: Palazzo Bollani
CROATIA
Studies on Shivering: The Third Degree
Damir Ocko
Commissioner: Ministry of Culture. Curator: Marc Bembekoff. Venue: Palazzo Pisani, S. Marina
CUBA
El artista entre la individualidad y el contexto
Lida Abdul, Celia-Yunior, Grethell Rasúa, Giuseppe Stampone, LinYilin, Luis Edgardo Gómez Armenteros, Olga Chernysheva, Susana Pilar Delahante Matienzo
Commissioner: Miria Vicini. Curators: Jorge Fernández Torres, Giacomo Zaza. Venue: San Servolo Island
CYPRUS, Republic of
Two Days After Forever
Christodoulos Panayiotou
Commissioner: Louli Michaelidou. Deputy Commissioner: Angela Skordi. Curator: Omar Kholeif. Deputy Curator: Daniella Rose King. Venue: Palazzo Malipiero, Sestiere San Marco 3079
CZECH Republic and SLOVAK Republic
Apotheosis
Jirí David
Commissioner: Adam Budak. Deputy Commissioner: Barbara Holomkova. Curator: Katarina Rusnakova. Venue: Pavilion at Giardini
ECUADOR
Gold Water: Apocalyptic Black Mirrors
Maria Veronica Leon Veintemilla in collaboration with Lucia Vallarino Peet
Commissioner: Andrea Gonzàlez Sanchez. Deputy Commissioner: PDG Arte Communications. Curator: Ileana Cornea. Deputy Curator: Maria Veronica Leon Veintemilla. Venue: Istituto Santa Maria della Pietà, Castello 3701
ESTONIA
NSFW. From the Abyss of History
Jaanus Samma
Commissioner: Maria Arusoo. Curator: Eugenio Viola. Venue: Palazzo Malipiero, campo San Samuele, San Marco 3199
EGYPT
CAN YOU SEE
Ahmed Abdel Fatah, Gamal Elkheshen, Maher Dawoud
Commissioner: Hany Al Ashkar. Curator: Ministry of Culture. Venue: Pavilion at Giardini
FINLAND (Pavilion Alvar Aalto)
Hours, Years, Aeons
IC-98
Commissioner: Frame Visual Art Finland, Raija Koli. Curator: Taru Elfving. Deputy Curator: Anna Virtanen. Venue: Pavilion at Giardini
FRANCE
revolutions
Céleste Boursier-Mougenot
Commissioner: Institut français, with Ministère de la Culture et de la Communication. Curator: Emma Lavigne. Venue: Pavilion at Giardini
GEORGIA
Crawling Border
Rusudan Gobejishvili Khizanishvili, Irakli Bluishvili, Dimitri Chikvaidze, Joseph Sabia
Commissioner: Ana Riaboshenko. Curator: Nia Mgaloblishvili. Venue: Pavilion at Arsenale – Sale d’Armi
GERMANY
Fabrik
Jasmina Metwaly / Philip Rizk, Olaf Nicolai, Hito Steyerl, Tobias Zielony
Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office. Deputy Commissioner: Elke aus dem Moore, Nina Hülsmeier. Curator: Florian Ebner. Deputy Curator: Tanja Milewsky, Ilina Koralova. Venue: Pavilion at Giardini
GREAT BRITAIN
Sarah Lucas
Commissioner: Emma Dexter. Curator: Richard Riley. Deputy Curator: Katrina Schwarz. Venue: Pavilion at Giardini
GRENADA *
Present Nearness
Oliver Benoit, Maria McClafferty, Asher Mains, Francesco Bosso and Carmine Ciccarini, Guiseppe Linardi
Commissioner: Ministry of Culture. Deputy Commissioner: Susan Mains. Curator: Susan Mains. Deputy Curator: Francesco Elisei. Venue: Opera don Orione Artigianelli, Sala Tiziano, Fondamenta delle Zattere ai Gesuati, Dorsoduro 919
GREECE
Why Look at Animals? AGRIMIKÁ.
Maria Papadimitriou
Commissioner: Hellenic Ministry of Culture, Education and Religious Affairs. Curator: Gabi Scardi. Deputy Curator: Alexios Papazacharias. Venue: Pavilion at Giardini
BRAZIL
So much that it doesn't fit here
Antonio Manuel, André Komatsu, Berna Reale
Commissioner: Luis Terepins. Curator: Luiz Camillo Osorio. Deputy Curator: Cauê Alves. Venue: Pavilion at Giardini
CANADA
Canadassimo
BGL
Commissioner: National Gallery of Canada, Marc Mayer. Deputy Commissioner: National Gallery of Canada, Yves Théoret. Curator: Marie Fraser. Venue: Pavilion at Giardini
CHILE
Poéticas de la disidencia | Poetics of dissent: Paz Errázuriz - Lotty Rosenfeld
Paz Errázuriz, Lotty Rosenfeld
Commissioner: Antonio Arèvalo. Deputy Commissioner: Juan Pablo Vergara Undurraga. Curator: Nelly Richard. Venue: Pavilion at Arsenale - Artiglierie
CHINA, People’s Republic of
Other Future
LIU Jiakun, LU Yang, TAN Dun, WEN Hui/Living Dance Studio, WU Wenguang/Caochangdi Work Station
Commissioner: China Arts and Entertainment Group, CAEG. Deputy Commissioners: Zhang Yu, Yan Dong. Curator: Beijing Contemporary Art Foundation. Scientific Committee: Fan Di’an, Zhang Zikang, Zhu Di, Gao Shiming, Zhu Qingsheng, Pu Tong, Shang Hui. Venue: Pavilion at Arsenale – Giardino delle Vergini
GUATEMALA
Sweet Death
Emma Anticoli Borza, Sabrina Bertolelli, Mariadolores Castellanos, Max Leiva, Pier Domenico Magri, Adriana Montalto, Elmar Rojas (Elmar René Rojas Azurdia), Paolo Schmidlin, Mónica Serra, Elsie Wunderlich, Collettivo La Grande Bouffe
Commissioner: Daniele Radini Tedeschi. Curators: Stefania Pieralice, Carlo Marraffa, Elsie Wunderlich. Deputy Curators: Luciano Carini, Simone Pieralice. Venue: Officina delle Zattere, Dorsoduro 947, Fondamenta Nani
HOLY SEE
Commissioner: Em.mo Card. Gianfranco Ravasi, Presidente del Pontificio Consiglio della Cultura. Venue: Pavilion at Arsenale – Sale d’Armi
HUNGARY
Sustainable Identities
Szilárd Cseke
Commissioner: Monika Balatoni. Deputy Commissioner: István Puskás, Sándor Fodor, Anna Karády. Curator: Kinga German. Venue: Pavilion at Giardini
ICELAND
Christoph Büchel
Commissioner: Björg Stefánsdóttir. Curator: Nína Magnúsdóttir. Venue: to be confirmed
INDONESIA, Republic of
Komodo Voyage
Heri Dono
Commissioner: Sapta Nirwandar. Deputy Commissioner: Soedarmadji JH Damais. Curator: Carla Bianpoen, Restu Imansari Kusumaningrum. Scientific Committee: Franco Laera, Asmudjo Jono Irianto, Watie Moerany, Elisabetta di Mambro. Venue: Venue: Arsenale
IRAN
Iranian Highlights
Samira Alikhanzaradeh, Mahmoud Bakhshi Moakhar, Jamshid Bayrami, Mohammed Ehsai
The Great Game
Lida Abdul, Bani Abidi, Adel Abidin, Amin Agheai, Ghodratollah Agheli, Shahriar Ahmadi, Parastou Ahovan, Farhad Ahrarnia, Rashad Alakbarov, Nazgol Ansarinia, Reza Aramesh, Alireza Astaneh, Sonia Balassanian, Mahmoud Bakhshi, Moakhar Wafaa Bilal, Mehdi Farhadian, Monir Farmanfarmaian, Shadi Ghadirian, Babak Golkar, Shilpa Gupta, Ghasem Hajizadeh, Shamsia Hassani, Sahand Hesamiyan, Sitara Ibrahimova, Pouran Jinchi, Amar Kanwar, Babak Kazemi, Ryas Komu, Ahmad Morshedloo, Farhad Moshiri, Mehrdad Mohebali, Huma Mulji, Azad Nanakeli, Jamal Penjweny, Imran Qureshi, Sara Rahbar, Rashid Rana, T.V. Santhosh, Walid Siti, Mohsen Taasha Wahidi, Mitra Tabrizian, Parviz Tanavoli, Newsha Tavakolian, Sadegh Tirafkan, Hema Upadhyay, Saira Wasim
Commissioner: Majid Mollanooruzi. Deputy Commissioners: Marco Meneguzzo, Mazdak Faiznia. Curators: Marco Meneguzzo, Mazdak Faiznia. Venue: Calle San Giovanni 1074/B, Cannaregio
IRAQ
Commissioner: Ruya Foundation for Contemporary Culture in Iraq (RUYA). Deputy Commissioner: Nuova Icona - Associazione Culturale per le Arti. Curator: Philippe Van Cauteren. Venue: Ca' Dandolo, San Polo 2879
IRELAND
Adventure: Capital
Sean Lynch
Commissioner: Mike Fitzpatrick. Curator: Woodrow Kernohan. Venue: Pavilion at Arsenale - Artiglierie
ISRAEL
Tsibi Geva | Archeology of the Present
Tsibi Geva
Commissioner: Arad Turgem, Michael Gov. Curator: Hadas Maor. Venue: Pavilion at Giardini
ITALY
Ministero dei Beni e delle attività culturali e del turismo - Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane. Commissioner: Federica Galloni. Curator: Vincenzo Trione. Venue: Padiglione Italia, Tese delle Vergini at Arsenale
JAPAN
The Key in the Hand
Chiharu Shiota
Commissioner: The Japan Foundation. Deputy Commissioner: Yukihiro Ohira, Manako Kawata and Haruka Nakajima. Curator: Hitoshi Nakano. Venue : Pavilion at Giardini
KENYA
Creating Identities
Yvonne Apiyo Braendle-Amolo, Qin Feng, Shi Jinsong, Armando Tanzini, Li Zhanyang, Lan Zheng Hui, Li Gang, Double Fly Art Center
Commissioner: Paola Poponi. Curator: Sandro Orlandi Stagl. Deputy Curator: Ding Xuefeng. Venue: San Servolo Island
KOREA, Republic of
The Ways of Folding Space & Flying
MOON Kyungwon & JEON Joonho
Commissioner: Sook-Kyung Lee. Curator: Sook-Kyung Lee. Venue: Pavilion at Giardini
KOSOVO, Republic of
Speculating on the blue
Flaka Haliti
Commissioner: Ministry of Culture, Youth and Sports. Curator: Nicolaus Schafhausen. Deputy Curator: Katharina Schendl. Venue: Pavilion at Arsenale - Artiglierie
LATVIA
Armpit
Katrina Neiburga, Andris Eglitis
Commissioner: Solvita Krese (Latvian Centre for Contemporary Art). Deputy Commissioner: Kitija Vasiljeva. Curator: Kaspars Vanags. Venue: Pavilion at Arsenale
LITHUANIA
Museum
Dainius Liškevicius
Commissioner: Vytautas Michelkevicius. Deputy Commissioner: Rasa Antanaviciute. Curator: Vytautas Michelkevicius. Venue: Palazzo Zenobio, Fondamenta del Soccorso 2569, Dorsoduro
LUXEMBOURG, Grand Duchy of
Paradiso Lussemburgo
Filip Markiewicz
Commissioner: Ministry of Culture. Deputy Commissioner: MUDAM Luxembourg. Curator: Paul Ardenne. Venue: Cà Del Duca, Corte del Duca Sforza, San Marco 3052
MACEDONIA, Former Yugoslavian Republic of
We are all in this alone
Hristina Ivanoska and Yane Calovski
Commissioner: Maja Nedelkoska Brzanova, National Gallery of Macedonia. Deputy Commissioner: Olivija Stoilkova. Curator: Basak Senova. Deputy Curator: Maja Cankulovska Mihajlovska. Venue: Pavilion at Arsenale - Sale d’Armi
MAURITIUS *
From One Citizen You Gather an Idea
Sultana Haukim, Nirmal Hurry, Alix Le Juge, Olga Jürgenson, Helge Leiberg, Krishna Luchoomun, Neermala Luckeenarain, Kavinash Thomoo, Bik Van Der Pol, Laure Prouvost, Vitaly Pushnitsky, Römer + Römer
Commissioner: pARTage. Curators: Alfredo Cramerotti, Olga Jürgenson. Venue: Palazzo Flangini - Canareggio 252
MEXICO
Possesing Nature
Tania Candiani, Luis Felipe Ortega
Commissioner: Tomaso Radaelli. Deputy Commissioner: Magdalena Zavala Bonachea. Curator: Karla Jasso. Venue: Pavilion at Arsenale – Sale d’Armi
MONGOLIA *
Other Home
Enkhbold Togmidshiirev, Unen Enkh
Commissioner: Gantuya Badamgarav, MCASA. Curator: Uranchimeg Tsultemin. Scientific Committee: David A Ross, Boldbaatar Chultemin. Venue: European Cultural Centre - Palazzo Mora
MONTENEGRO
,,Ti ricordi Sjecaš li se You Remember "
Aleksandar Duravcevic
Commissioner/Curator: Anastazija Miranovic. Deputy Commissioner: Danica Bogojevic. Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero
MOZAMBIQUE, Republic of *
Theme: Coexistence of Tradition and Modernity in Contemporary Mozambique
Mozambique Artists
Commissioner: Joel Matias Libombo. Deputy Commissioner: Gilberto Paulino Cossa. Curator: Comissariado-Geral para a Expo Milano 2015. Venue: Pavilion at Arsenale
NETHERLANDS, The
herman de vries - to be all ways to be
herman de vries
Commissioner: Mondriaan Fund. Curators: Colin Huizing, Cees de Boer. Venue: Pavilion ar Giardini
NEW ZEALAND
Secret Power
Simon Denny
Commissioner: Heather Galbraith. Curator: Robert Leonard. Venue: Biblioteca Nazionale Marciana, Marco Polo Airport
NORDIC PAVILION (NORWAY)
Camille Norment
Commissioner: OCA, Office for Contemporary Art Norway. Curator: Katya García-Antón. Deputy Curator: Antonio Cataldo. Venue: Pavilion at Giardini
PERU
Misplaced Ruins
Gilda Mantilla and Raimond Chaves
Commissioner: Armando Andrade de Lucio. Curator: Max Hernández-Calvo. Venue: Pavilion at Arsenale – Sale d’Armi
PHILIPPINES
Tie a String Around the World
Manuel Conde, Carlos Francisco, Manny Montelibano, Jose Tence Ruiz
Commissioner: National Commission for Culture and the Arts (NCCA), Felipe M. de Leon Jr. Curator: Patrick D. Flores. Venue: European Cultural Centre - Palazzo Mora
POLAND
Halka/Haiti. 18°48’05”N 72°23’01”W
C.T. Jasper, Joanna Malinowska
Commissioner: Hanna Wróblewska. Deputy Commissioner: Joanna Wasko. Curator: Magdalena Moskalewicz. Venue: Pavilion at Giardini
PORTUGAL
I Will Be Your Mirror / poems and problems
João Louro
Commissioner/Curator: María de Corral. Venue: Palazzo Loredan, campo S. Stefano
ROMANIA
Adrian Ghenie: Darwin’s Room
Adrian Ghenie
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Mihai Pop. Venue: Pavilion at Giardini
Inventing the Truth. On Fiction and Reality
Michele Bressan, Carmen Dobre-Hametner, Alex Mirutziu, Lea Rasovszky, Stefan Sava, Larisa Sitar
Commissioner: Monica Morariu. Deputy Commissioner: Alexandru Damian. Curator: Diana Marincu. Deputy Curators: Ephemair Association (Suzana Dan and Silvia Rogozea). Venue: New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice
RUSSIA
The Green Pavilion
Irina Nakhova
Commissioner: Stella Kesaeva. Curator: Margarita Tupitsyn. Venue: Pavilion at Giardini
SERBIA
United Dead Nations
Ivan Grubanov
Commissioner: Lidija Merenik. Deputy Commissioner: Ana Bogdanovic. Curator: Lidija Merenik. Deputy Curator: Ana Bogdanovic. Scientific Committee: Jovan Despotovic. Venue: Pavilion at Giardini
SAN MARINO
Repubblica di San Marino “ Friendship Project “ China
Xu De Qi, Liu Dawei, Liu Ruo Wang, Ma Yuan, Li Lei, Zhang Hong Mei, Eleonora Mazza, Giuliano Giulianelli, Giancarlo Frisoni, Tony Margiotta, Elisa Monaldi, Valentina Pazzini
Commissioner: Istituti Culturali della Repubblica di San Marino. Curator: Vincenzo Sanfo. Venue: TBC
SEYCHELLES, Republic of *
A Clockwork Sunset
George Camille, Léon Wilma Loïs Radegonde
Commissioner: Seychelles Art Projects Foundation. Curators: Sarah J. McDonald, Victor Schaub Wong. Venue: European Cultural Centre - Palazzo Mora
SINGAPORE
Sea State
Charles Lim Yi Yong
Commissioner: Paul Tan, National Arts Council, Singapore. Curator: Shabbir Hussain Mustafa. Scientific Committee: Eugene Tan, Kathy Lai, Ahmad Bin Mashadi, June Yap, Emi Eu, Susie Lingham, Charles Merewether, Randy Chan. Venue: Pavilion at Arsenale – Sale d’Armi
SLOVENIA, Republic of
UTTER / The violent necessity for the embodied presence of hope
JAŠA
Commissioner: Simona Vidmar. Deputy Commissioner: Jure Kirbiš. Curators: Michele Drascek and Aurora Fonda. Venue: Pavilion at Arsenale - Artiglierie
SPAIN
Los Sujetos (The Subjects)
Pepo Salazar, Cabello/Carceller, Francesc Ruiz, + Salvador Dalí
Commissioner: Ministerio Asuntos Exteriores. Gobierno de España. Curator: Marti Manen. Venue: Pavilion at Giardini
SYRIAN ARAB REPUBLIC
Origini della civiltà
Narine Ali, Ehsan Alar, Felipe Cardeña, Fouad Dahdouh, Aldo Damioli, Svitlana Grebenyuk, Mauro Reggio, Liu Shuishi, Nass ouh Zaghlouleh, Andrea Zucchi, Helidon Xhixha
Commissioner: Christian Maretti. Curator: Duccio Trombadori. Venue: Redentore – Giudecca, San Servolo Island
SWEDEN
Excavation of the Image: Imprint, Shadow, Spectre, Thought
Lina Selander
Commissioner: Ann-Sofi Noring. Curator: Lena Essling. Venue: Pavilion at Arsenale
SWITZERLAND
Our Product
Pamela Rosenkranz
Commissioner: Swiss Arts Council Pro Helvetia, Sandi Paucic and Marianne Burki. Deputy-Commissioner: Swiss Arts Council Pro Helvetia, Rachele Giudici Legittimo. Curator: Susanne Pfeffer. Venue: Pavilion at Giardini
THAILAND
Earth, Air, Fire & Water
Kamol Tassananchalee
Commissioner: Chai Nakhonchai, Office of Contemporary Art and Culture (OCAC), Ministry of Culture. Curator: Richard David Garst. Deputy Curator: Pongdej Chaiyakut. Venue: Paradiso Gallerie, Giardini della Biennale, Castello 1260
TURKEY
Respiro
Sarkis
Commissioner: Istanbul Foundation for Culture and Arts. Curator: Defne Ayas. Deputy Curator: Ozge Ersoy. Venue: Pavilion at Arsenale – Sale d’Armi
TUVALU
Crossing the Tide
Vincent J.F. Huang
Commissioner: Taukelina Finikaso. Deputy Commissioner: Temate Melitiana. Curator: Thomas J. Berghuis. Scientific Committee: Andrea Bonifacio. Venue: Pavilion at Arsenale
UKRAINE
Hope!
Yevgenia Belorusets, Nikita Kadan, Zhanna Kadyrova, Mykola Ridnyi & SerhiyZhadan, Anna Zvyagintseva, Open Group, Artem Volokitin
Commissioner: Ministry of Culture. Curator: Björn Geldhof. Venue: Riva dei Sette Martiri
UNITED ARAB EMIRATES
1980 – Today: Exhibitions in the United Arab Emirates
Abdullah Al Saadi, Abdul Qader Al Rais, Abdulraheem Salim, Abdulrahman Zainal, Ahmed Al Ansari, Ahmed Sharif, Hassan Sharif, Mohamed Yousif, Mohammed Abdullah Bulhiah, Mohammed Al Qassab, Mohammed Kazem, Moosa Al Halyan, Najat Meky, Obaid Suroor, Salem Jawhar
Commissioner: Salama bint Hamdan Al Nahyan Foundation. Curator: Hoor Al Qasimi. Venue: Pavilion at Arsenale – Sale d'Armi
UNITED STATES OF AMERICA
Joan Jonas: They Come to Us Without a Word
Joan Jonas
Commissioner: Paul C. Ha. Deputy Commissioner: MIT List Visual Arts Center. Curators: Ute Meta Bauer, Paul C. Ha. Venue: Pavilion at Giardini
URUGUAY
Global Myopia II (Pencil & Paper)
Marco Maggi
Commissioner: Ricardo Pascale. Curator: Patricia Bentancour. Venue: Pavilion at Giardini
VENEZUELA, Bolivarian Republic of
Te doy mi palabra (I give you my word)
Argelia Bravo, Félix Molina (Flix)
Commissioner: Oscar Sotillo Meneses. Deputy Commissioner: Reinaldo Landaeta Díaz. Curator: Oscar Sotillo Meneses. Deputy Curator: Morella Jurado. Scientific Committee: Carlos Pou Ruan. Venue: Pavilion at Giardini
ZIMBABWE, Republic of
Pixels of Ubuntu/Unhu: - Exploring the social and cultural identities of the 21st century.
Chikonzero Chazunguza, Masimba Hwati, Gareth Nyandoro
Commissioner: Doreen Sibanda. Curator: Raphael Chikukwa. Deputy Curator: Tafadzwa Gwetai. Scientific Committee: Saki Mafundikwa, Biggie Samwanda, Fabian Kangai, Reverend Paul Damasane, Nontsikelelo Mutiti, Stephen Garan'anga, Dominic Benhura. Venue: Santa Maria della Pieta
ITALO-LATIN AMERICAN INSTITUTE
Voces Indígenas
Commissioner: Sylvia Irrazábal. Curator: Alfons Hug. Deputy Curator: Alberto Saraiva. Venue: Pavilion at Arsenale
ARGENTINA
Sofia Medici and Laura Kalauz
PLURINATIONAL STATE OF BOLIVIA
Sonia Falcone and José Laura Yapita
BRAZIL
Adriana Barreto
Paulo Nazareth
CHILE
Rainer Krause
COLOMBIA
León David Cobo,
María Cristina Rincón and Claudia Rodríguez
COSTA RICA
Priscilla Monge
ECUADOR
Fabiano Kueva
EL SALVADOR
Mauricio Kabistan
GUATEMALA
Sandra Monterroso
HAITI
Barbara Prézeau Stephenson
HONDURAS
Leonardo González
PANAMA
Humberto Vélez
NICARAGUA
Raúl Quintanilla
PARAGUAY
Erika Meza
Javier López
PERU
José Huamán Turpo
URUGUAY
Gustavo Tabares
Ellen Slegers
001 Inverso Mundus. AES+F
Magazzino del Sale n. 5, Dorsoduro, 265 (Fondamenta delle Zattere ai Saloni); Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 31st
Organization: VITRARIA Glass + A Museum
Catalonia in Venice: Singularity
Cantieri Navali, Castello, 40 (Calle Quintavalle)
May 9th - November 22nd
Organization: Institut Ramon Llull
venezia2015.llull.cat
Conversion. Recycle Group
Chiesa di Sant’Antonin, Castello (Campo Sant’Antonin)
May 6th - October 31st
Organization: Moscow Museum of Modern Art
Dansaekhwa
Palazzo Contarini-Polignac, Dorsoduro, 874 (Accademia)
May 7th – August 15th
Organization: The Boghossian Foundation
Dispossession
Palazzo Donà Brusa, Campo San Polo, 2177
May 9th - November 22nd
Organization: European Capital of Culture Wroclaw 2016
wroclaw2016.pl/biennale/
EM15 presents Doug Fishbone’s Leisure Land Golf
Arsenale Docks, Castello, 40A, 40B, 41C
May 6th - July 26th
Organization: EM15
Eredità e Sperimentazione
Grand Hotel Hungaria & Ausonia, Viale Santa Maria Elisabetta, 28, Lido di Venezia
May 9th - November 22nd
Organization: Istituto Nazionale di BioArchitettura - Sezione di Padova
Frontiers Reimagined
Palazzo Grimani, Castello, 4858 (Ramo Grimani)
May 9th - November 22nd
Organization: Tagore Foundation International; Polo museale del Veneto
Glasstress 2015 Gotika
Istituto Veneto di Scienze Lettere ed Arti, Palazzo Cavalli Franchetti, San Marco, 2847 (Campo Santo Stefano); Chiesa di Santa Maria della Visitazione, Centro Culturale Don Orione Artigianelli, Dorsoduro, 919 (Zattere); Fondazione Berengo, Campiello della Pescheria, 15, Murano;
May 9th — November 22nd
Organization: The State Hermitage Museum
Graham Fagen: Scotland + Venice 2015
Palazzo Fontana, Cannaregio, 3829 (Strada Nova)
May 9th - November 22nd
Organization: Scotland + Venice
Grisha Bruskin. An Archaeologist’s Collection
Former Chiesa di Santa Caterina, Cannaregio, 4941-4942
May 6th – November 22nd
Organization: Centro Studi sulle Arti della Russia (CSAR), Università Ca’ Foscari Venezia
Helen Sear, ... The Rest Is Smoke
Santa Maria Ausiliatrice, Castello, 450 (Fondamenta San Gioacchin)
May 9th - November 22nd
Organization: Cymru yn Fenis/Wales in Venice
Highway to Hell
Palazzo Michiel, Cannaregio, 4391/A (Strada Nova)
May 9th - November 22nd
Organization: Hubei Museum of Art
Humanistic Nature and Society (Shan-Shui) – An Insight into the Future
Palazzo Faccanon, San Marco, 5016 (Mercerie)
May 7th – August 4th
Organization: Shanghai Himalayas Museum
In the Eye of the Thunderstorm: Effervescent Practices from the Arab World & South Asia
Dorsoduro, 417 (Zattere)
May 6th - November 15th
Organization: ArsCulture
Italia Docet | Laboratorium- Artists, Participants, Testimonials and Activated Spectators
Palazzo Barbarigo Minotto, San Marco, 2504 (Fondamenta Duodo o Barbarigo)
May 9th – June 30th; September 11st – October 31st
Organization: Italian Art Motherboard Foundation (i-AM Foundation)
www.venicebiennale-italiadocet.org
Jaume Plensa: Together
Basilica di San Giorgio Maggiore, Isola di San Giorgio Maggiore
May 6th – November 22nd
Organization: Abbazia di San Giorgio Maggiore Benedicti Claustra Onlus
Jenny Holzer "War Paintings"
Museo Correr, San Marco, 52 (Piazza San Marco)
May 6th – November 22nd
Organization: The Written Art Foundation; Museo Correr, Fondazione Musei Civici di Venezia
correr.visitmuve.it
Jump into the Unknown
Palazzo Loredan dell’Ambasciatore, Dorsoduro, 1261-1262
May 9th – June 18th
Organization: Nine Dragon Heads
9dh-venice.com
Learn from Masters
Palazzo Bembo, San Marco, 4793 (Riva del Carbon)
May 9th – November 22nd
Organization: Pan Tianshou Foundation
pantianshou.caa.edu.cn/foundation_en
My East is Your West
Palazzo Benzon, San Marco, 3927
May 6th – October 31st
Organization: The Gujral Foundation
Ornamentalism. The Purvitis Prize
Arsenale Nord, Tesa 99
May 9th – November 22nd
Organization: The Secretariat of the Latvian Presidency of the Council of the European Union in 2015
www.purvisabalva.lv/en/ornamentalism
Path and Adventure
Arsenale, Castello, 2126/A (Campo della Tana)
May 9th – November 22nd
Organization: The Civic and Municipal Affairs Bureau; The Macao Museum of Art; The Cultural Affairs Bureau
Patricia Cronin: Shrine for Girls, Venice
Chiesa di San Gallo, San Marco, 1103 (Campo San Gallo)
May 9th – November 22nd
Organization: Brooklyn Rail Curatorial Projects
curatorialprojects.brooklynrail.org
Roberto Sebastian Matta. Sculture
Giardino di Palazzo Soranzo Cappello, Soprintendenza BAP per le Province di Venezia, Belluno, Padova e Treviso, Santa Croce, 770 (Fondamenta Rio Marin)
May 9th – November 22nd
Organization: Fondazione Echaurren Salaris
www.fondazioneechaurrensalaris.it
www.maggioregam.com/56Biennale_Matta
Salon Suisse: S.O.S. Dada - The World Is A Mess
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
May 9th; June 4th - 6th; September 10th - 12th; October 15th - 17th; November 19th – 21st
Organization: Swiss Arts Council Pro Helvetia
Sean Scully: Land Sea
Palazzo Falier, San Marco, 2906
May 9th – November 22nd
Organization: Fondazione Volume!
Sepphoris. Alessandro Valeri
Molino Stucky, interior atrium, Giudecca, 812
May 9th – November 22nd
Organization: Assessorato alla Cultura del Comune di Narni(TR); a Sidereal Space of Art; Satellite Berlin
Tesla Revisited
Palazzo Nani Mocenigo, Dorsoduro, 960
May 9th – October 18th
Organization: VITRARIA Glass + A Museum
The Bridges of Graffiti
Arterminal c/o Terminal San Basilio, Dorsoduro (Fondamenta Zattere al Ponte Lungo)
May 9th - November 22nd
Organization: Associazione Culturale Inossidabile
The Dialogue of Fire. Ceramic and Glass Masters from Barcelona to Venice
Palazzo Tiepolo Passi, San Polo, 2774
May 6th - November 22nd
Organization: Fundaciò Artigas; ArsCulture
The Question of Beings
Istituto Santa Maria della Pietà, Castello, 3701
May 9th - November 22nd
Organization: Museum of Contemporary Art, Taipei (MoCA, Taipei)
The Revenge of the Common Place
Università Ca' Foscari, Ca' Bernardo, Dorsoduro, 3199 (Calle Bernardo)
May 9th – September 30th
Organization: Vrije Universiteit Brussel (Free University Brussels-VUB)
The Silver Lining. Contemporary Art from Liechtenstein and other Microstates
Palazzo Trevisan degli Ulivi, Dorsoduro, 810 (Campo Sant'Agnese)
October 24th – November 1st
Organization: Kunstmuseum Liechtenstein
The Sound of Creation. Paintings + Music by Beezy Bailey and Brian Eno
Conservatorio Benedetto Marcello, Palazzo Pisani, San Marco, 2810 (Campo Santo Stefano)
May 7th - November 22nd
Organization: ArsCulture
The Union of Fire and Water
Palazzo Barbaro, San Marco, 2840
May 9th - November 22nd
Organization: YARAT Contemporary Art Organisation
Thirty Light Years - Theatre of Chinese Art
Palazzo Rossini, San Marco, 4013 (Campo Manin)
May 9th - November 22nd
Organization: GAC Global Art Center Foundation; The Guangdong Museum of Art
Tsang Kin-Wah: The Infinite Nothing, Hong Kong in Venice
Arsenale, Castello, 2126 (Campo della Tana)
May 9th - November 22nd
Organization: M+, West Kowloon Cultural District; Hong Kong Arts Development Council
Under the Surface, Newfoundland and Labrador at Venice
Galleria Ca' Rezzonico, Dorsoduro, 2793
May 9th - November 22nd
Organization: Terra Nova Art Foundation
tnaf.ca
Ursula von Rydingsvard
Giardino della Marinaressa, Castello (Riva dei Sette Martiri)
May 6th - November 22nd
Organization:Yorkshire Sculpture Park
We Must Risk Delight: Twenty Artists from Los Angeles
Magazzino del Sale n. 3, Dorsoduro, 264 (Zattere)
May 7th - November 22nd
Organization: bardoLA
Wu Tien-Chang: Never Say Goodbye
Palazzo delle Prigioni, Castello, 4209 (San Marco)
May 9th - November 22nd
Organization: Taipei Fine Arts Museum of Taiwan
El baptisterio de Parma (en italiano: battistero di Parma) es un baptisterio —edificio destinado al rito del bautismo cristiano— italiano del siglo XIII que está situado junto a la catedral de Parma y se considera estilísticamente como un punto de unión de la arquitectura románica y la arquitectura gótica.
es.wikipedia.org/wiki/Baptisterio_de_Parma
The Baptistery of Parma (Italian: Battistero di Parma) is a religious edifice in Parma, northern Italy. Architecturally, the baptistery of Parma Cathedral marks a transition between the Romanesque and Gothic styles,[1] and it is considered to be among the most important Medieval monuments in Europe.
en.wikipedia.org/wiki/Parma_Baptistery
La catedral de Parma (Duomo) (del italiano: Basilica Cattedrale della Assunzione di Maria Virgine) es una basílica catedral de la ciudad italiana de Parma, Emilia-Romaña. Es una importante catedral de estilo románico, y el fresco del artista il Correggio es una de las obras maestras al fresco de la época renacentista.
es.wikipedia.org/wiki/Catedral_de_Parma
Parma Cathedral (Italian: Duomo di Parma; Cattedrale di Santa Maria Assunta) is a Roman Catholic cathedral in Parma, Emilia-Romagna (Italy), dedicated to the Assumption of the Blessed Virgin Mary. It is the episcopal seat of the Diocese of Parma. It is an important Italian Romanesque cathedral: the dome, in particular, is decorated by a highly influential illusionistic fresco by Renaissance painter Antonio da Correggio.