architecture--the photos on Flickr

Inch Abbey Co. Down by Stefan Lassus

Inch Abbey 'Mainistir na hInse' or in Ulster-Scots: Änch Abbey is a large, ruined monastic site near Downpatrick, County Down, on the north bank of the River Quoile in a hollow between two drumlins and featuring early Gothic architecture.

The site was originally on an island (Irish: Inis) in the Quoile Marshes. The pre-Norman Celtic monastic settlement here, known as Inis Cumhscraigh (or Inis Cuscraidh), was in existence by the year 800. In 1002 it was plundered by the Vikings led by Sitric, King of the Danes, who came up the Quoile with a fleet from the sea. The Vikings plundered the settlement again in 1149. Its large earthwork enclosure has been traced from aerial photographs. On the ground, the early bank and ditch can be followed along the line of trees on the eastern boundary of the site, and partly along the western boundary. The buildings of the early monastery would have been made of timber.

Inch Abbey was established as a Cistercian house by John de Courcy and his wife Affreca. Inch, or Iniscourcy, was erected as an act of repentance for the destruction of the Abbey at Erinagh (or Erenagh) by de Courcy in 1177. It was colonised directly by monks from Furness Abbey in Lancashire in 1180, along with some of the monks from Erinagh. The Cistercian monastery was located near to the river in the southern area of the Early Christian earthwork enclosure.

The Cistercian precinct was enclosed by a bank and ditch extending north and south from the parish graveyard to the river and east to west up the valley sides. The buildings are mainly of the late 12th century and the 13th century. The church was built about 1200, in the Cistercian cruciform plan with a low tower at the crossing, an aisled nave to the west and two projecting transepts each with a pair of chapels. Only the impressive east window remains. The chancel wall has three, well-proportioned, pointed windows, the middle one being 23 ft high. The chancel was 42 ft by 27 ft. There was an altar in each of the rib-vaulted transept chapels and in the north transept is a door out to the monk's cemetery and a tower with broken stairs in the north-west angle. On the stone plinth of the north transept's exterior north wall a number of incised symbols can be seen which are mason's marks. The high altar was under the east windows and in the south wall are the remains of a triple sedilia (seats for the priests) and a piscina for washing the altar vessels.

The community of monks was probably never very large, and this may have led to the decision to reduce the size of the church by walling off a smaller area to the east end. Some continuity was maintained with the 13th century work by reusing a fine door of that period as the west door of the reduced church. In the 15th century, when the monastic community was smaller, the church was altered. Through the walling in of the chancel and first bay of the nave, and blocking off the transepts, a much smaller church was created and the rest was abandoned. The cloister walks to the south have disappeared, but foundations of the east and south ranges remain, as well as outlying buildings toward the river. These include an infirmary and a bakehouse with two ovens and a well nearby.

Judged by medieval standards the abbey was wealthy. In 1380 Parliament tried to help waning English influence by restricting the membership of the Order at Inch to English or Anglicised Irish. Twenty-four years later, the abbey was burned and that, perhaps together with the collapse of a central tower and a dwindling community, gave the impetus to alter the size of the church. Monastic life continued, most likely on a small scale, until the 16th century, but the Abbey had been dissolved by 1541, when the abbey with about 850 acres of land was granted to Gerald, Earl of Kildare, along with other monasteries.

Inch Abbey Downpatrick, was the setting where Rob Stark was crowned King of the North, in the TV series Game of Thrones.

Temple of the Cross, Palenque by Aidan McRae Thomson

1

The ancient Mayan city of Palenque is one of the World's greatest archaeological sites, a stunning testament to the skill of the Maya in art and architecture.

The city flourished between 226BC and 1123AD, after which time it was abandoned and was engulfed by the surrounding jungle, and all but disappeared for centuries. The greatest monuments of the city were released from their foliate covering in the late 19th century, but it is estimated that little more than 10% of the overall site has been cleared and properly excavated, and numerous other smaller structures remain choked in the wilderness beyond.

The main features of the cleared site are the towering temples, consisting of shrines built atop huge pyramid-like stepped terraces, most of which can still be ascended and explored by visitors (except for the particularly fine Temple of the Inscriptions).

At the heart of the complex is the huge ruined Palace, again raised on terraces and crowned by a distinctive tower, (looking as much like a colonial church bell-tower than a ancient Mayan structure). The pillars and corridors of the upper levels are adorned by fragments of the original stucco relief decoration, reminding us that what appears now as great swathes of rubble wall was originally covered by wonderfully complex sculptural decoration, all originally brightly painted, which must have been spectacular and dazzlingly coloured. We should always bare in mind that however structurally complete such ancient temples might appear, their original magnificence is a further spectacle still that we can only imagine.

The unforgettable ruins of Palenque and their stunning natural setting are one of the real highlights of a visit to Mexico, and should not be missed.

en.wikipedia.org/wiki/Palenque

Dalat Cathedral (aka Chicken Church) by shushin

One of the most antique architecture, the largest church in Dalat City. Another name of it is the Chicken Church since there is a statue of a chicken on the top of the tower.

Windhover Coffee by Eric

May 14, 2019 - Milwaukee Art Museum's Quadracci Pavilion designed by Santiago Calatrava.

"The Quadracci Pavilion is the iconic sculptural addition to the Milwaukee Art Museum designed by Santiago Calatrava. The Spanish architect was inspired by the “dramatic, original building by Eero Saarinen, . . . the topography of the city,” and Frank Lloyd Wright’s Prairie-style architecture.

The 142,050-square-foot structure was completed in 2001 and houses a grand reception hall, an auditorium, a large exhibition space, a store, two cafés, and parking. Both cutting-edge technology and old-world craftsmanship went into creating the graceful building, which was made largely by pouring concrete into one-of-a-kind wooden forms.

Windhover Hall is the grand reception hall and among the pavilion’s many architectural highlights. Complete with flying buttresses, pointed arches, ribbed vaults, and a central nave topped by a 90-foot-high glass roof, it is Calatrava’s interpretation of a Gothic cathedral. An average-sized, two-story family home would fit comfortably inside it. The hall’s chancel is shaped like the prow of a ship, with floor-to-ceiling windows looking over Lake Michigan. Adjoining the central hall are two tow-arched promenades, the Baumgartner Galleria and Schroeder Galleria, with expansive views of the lake and downtown.

The Museum’s signature wings, the Burke Brise Soleil, form a moveable sunscreen with a 217-foot wingspan. The brise soleil is made up of 72 steel fins, ranging in length from 26 to 105 feet. The entire structure weighs 90 tons. It takes 3.5 minutes for the wings to open or close. Sensors on the fins continually monitor wind speed and direction, so when winds exceed 23 mph for more than 3 seconds, the wings close automatically.

According to Santiago Calatrava, the Quadracci Pavilion’s design “responds to the culture of the lake: the sailboats, the weather, the sense of motion and change.” And “in the crowning element of the brise soleil,” he stated, “the building’s form is at once formal (completing the composition), functional (controlling the level of light), symbolic (opening to welcome visitors), and iconic (creating a memorable image for the Museum and the city).”

The expansion of the Museum was made possible through the generosity of donors in a capital campaign, with major funding provided by Betty and Harry Quadracci." Previous text from the Milwaukee Art Museum's website: mam.org/info/details/quadracci.php

Wien, 14. Bezirk – Pfarrkirche Sankt Andreas (la chiesa parrocchiale d’Andrea apostolo), (la iglesia parroquial de Andrés el Apóstol, (l'église paroissiale d’André (apôtre)), the parish church of Saint Andrew by Josef Lex (El buen soldado Švejk)

(further pictures you can see by clicking on the link at the end of page!)

Hütteldorfer parish

War memorial in front of the church

The church interior

The Hütteldorfer parish church is a Roman Catholic church building in the part of the 14th district of Vienna (Penzing), Hütteldorf. It is dedicated to the Apostle Andrew.

Location and architecture

The free-standing Gothic Sichtziegelbau (facing bricks construction method) at the Linzer Straße 424 is the work of architect Richard Jordan. The church complex is surrounded by a wall and two-storey outbuildings and is to Linzerstraße enclosed by a wrought iron grille. The war memorial soldier on guard at the forecourt of the church was created in the 1920s by Hans Fürst. To the west of the site is situated the Karl-Terkal Park, named after opera singer Karl Terkal.

The church building has in the south a façade tower and is in the north enclosed by a choir. In between is the nave with a transept. On the east wall there is a plaque in memory of Michael Denis with a by Vincenz Pilz created relief bust of the writer and on the west wall the Epitaph of Princess Leopoldine of Liechtenstein.

The paintings on glass and the interior equipment mostly stem from the construction period of the church (1881 /82), among them the seating, the font and the confessional as well as the with a neo-Gothic case equipped organ of Josef Ullmann and the neo-Gothic altars. The high altar has a row of arcades with figures representing the saints Francis, Elizabeth of Hungary, Leopold III. and Severin of Noricum. These are just like the characters of the two side altars work of the sculptor Rochus Haas, who also created the Stations of the Cross relief. Of earlier date is a probably from the 16th Century stemming crucifix in the church. The pulpit, however, was only created in 1959 by Alfred Balcarek. A relief of Hans Schwathe on the south wall of the transept dates from 1943 and represents a soldier with the Virgin Mary. A Pietà sculpture is the work of Franz Barwigs the Younger from the year 1956.

The two-storey rectory Hütteldorf is one of the outbuildings of the church. It is located to the east of the church building right at the Linzer Straße. Originally it was a farmhouse that was built in the 18th century, whose facade in the third quarter of the 19th Century has been partially remodeled.

History

The parish Hütteldorf was founded in 1356 by the then Hütteldorfer landlord Wernhard Schenk von Ried. On him reminds since 1964 a memorial plaque on the east wall of the church. In the 19th Century was the old Gothic parish church already so dilapidated that in 1864 its bell tower had to be removed. In 1873 priest Emanuel Paletz took over the parish and began with the plannings for a new church building.

Today's Hütteldorfer parish church was 1881/82 instead of the former farmyard of the parish built and on 9th November 1882 consecrated. The old parish church was demolished in 1887. Interior renovations were carried out in the years 1959 and 1980. The tower was restored in 1979 and 1995.

The parish in the St.-Joseph-am-Wolfersberg-Church in 1939 became independent of the parish Hütteldorf, those in the Kordonkirche in 1989. The parish Hütteldorf now as one of nine parishes belongs to Stadtdekanat (Municipal deanery) 14.

de.wikipedia.org/wiki/H%C3%BCtteldorfer_Pfarrkirche

Look Up - VLC Architecture - The Ornate & Historic Correos (Post Office) Plaza Ayuntamiento - Valencia (Monochrome) Panasonic DC-S1 & Lumix S 20-60mm Zoom Lens) by markdbaynham

Priests | Normal octagonal font | Belton church | Belton House-16 by Paul Dykes

Heavily restored Norman octagonal font in the Church of St Peter and St Paul, Belton.

"Belton House[…]has been described as a compilation of all that is finest of Carolean architecture, the only truly vernacular style of architecture that England had produced since the Tudor period. The house has also been described as the most complete example of a typical English country house; the claim has even been made that Belton's principal facade was the inspiration for the modern British motorway signs which give directions to stately homes.

"For three hundred years, Belton House was the seat of the Brownlow and Cust family, who had first acquired land in the area in the late 16th century. Between 1685 and 1688 Sir John Brownlow and his wife had the present mansion built. Despite great wealth they chose to build a modest country house rather than a grand contemporary Baroque palace. The contemporary, if provincial, Carolean style was the selected choice of design. However, the new house was fitted with the latest innovations such as sash windows for the principal rooms, and more importantly completely separate areas for the staff. As the Brownlows rose from baronets to barons upward to earls and then once again became barons, successive generations made changes to the interior of the house which reflected their changing social position and tastes, yet the fabric and design of the house changed little.

"Following World War I (a period when the Machine Gun Corps was based in the park), the Brownlows, like many of their peers, were faced with mounting financial problems. In 1984 they gave the house away [to the National Trust] complete with most of its contents."

Source: Wikipedia

India - Tamil Nadu - Kanchipuram - Vaikunta Perumal Temple - 52 by Manfred Sommer

Thiru Parameswara Vinnagaram or Vaikunta Perumal Temple is a temple dedicated to the Hindu god Vishnu, located in Kanchipuram in the South Indian state of Tamil Nadu. Constructed in the Dravidian style of architecture, the temple is glorified in the Divya Prabandha, the early medieval Tamil canon of the Azhwar saints from the 6th–9th centuries AD. It is one among the 108 Divyadesam dedicated to Vishnu, who is worshipped as Vaikuntanathan and his consort Lakshmi as Vaikundavalli.

The temple is believed to have been built by the Pallava king Nandivarman II (720-96 CE), with later contributions from Medieval Cholas and Vijayanagar kings. The temple is surrounded by a granite wall enclosing all the shrines and water bodies of the temple. Vaikuntanathan is believed to have appeared to king Viroacha. The temple follows Vaikasana Agama and observes six daily rituals and two yearly festivals. The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.

LEGEND

As per Hindu legend, the region where the temple is located was called Vidarbha Desa and ruled by a king named Viroacha. Due to his misdeeds in preceding birth, Virocha had no heir. He prayed in Kailasanathar Temple and Shiva, the presiding deity of the temple gave a boon that the Dvarapalas (the gatekeepers) of the Vishnu temple will be born as sons to him. The princes were devoted to Vishnu and conducted yagna for the welfare of the people of their kingdom. Vishnu was pleased with the worship and appeared as Vaikundanatha to the princes.

TEMPLE

As per Dr. Hultzh, Parameswara Vinnagaram was constructed by the Pallava King Nandivarman II in 690 CE, while other scholars place it in the late 8th century. Pallavamallan was a worshipper of Vishnu and a great patron of learning. He renovated old temples and built several new ones. Among the latter was the Parameswara Vinnagaram or the Vaikunta Perumal temple at Kanchipuram which contains inscribed panels of sculpture portraying the events leading up to the accession of Pallavamalla to the throne. The great Vaishnava saint Thirumangai Alvar was his contemporary.

Three sanctuaries host the image of Vishnu in different postures - seated (ground floor), lying (first floor; accessible to devotees only on ekadashi days) and standing (second floor; inaccessible to devotees). The logical and complex plan of the temple provided a prototype for the much larger shrines to be constructed all over Tamil Nadu. The external cloisters, for instance, with their lion pillars, are predecessors of the grand thousand pillared halls of later temples.

This temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon by Thirumangai Alvar in 10 hymns. The temple is classified as a Divyadesam, one of the 108 Vishnu temples that are mentioned in the Vaishnava canon. The temple is one of the fourteen Divyadesams in Kanchipuram and is part of Vishnu Kanchi, the place where most of the Vishnu temples in Kanchipuram are located.

FESTIVALS & RELIGIOUS PRACTICES

The temple follows Vaikasana Agama. The temple priests perform the pooja (rituals) during festivals and on a daily basis. Like other Vishnu temples of Tamil Nadu, the priests belong to the Vaishnavaite community, a Brahmin sub-caste. The temple rituals are performed six times a day: Ushathkalam at 7:30 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 12:00 p.m., Sayarakshai at 5:00 p.m., Irandamkalam at 6:00 p.m. and Ardha Jamam at 7:30 p.m. Each ritual has three steps: alangaram (decoration), neivethanam (food offering) and deepa aradanai (waving of lamps) for both Vaikuntanathan and Vaikundavalli. During the last step of worship, religious instructions in the Vedas (sacred text) are recited by priests, and worshippers prostrate themselves in front of the temple mast. There are weekly, monthly and fortnightly rituals performed in the temple. The Vaikasi Brahmotsavam, celebrated during the Tamil month of Vaikasi (May-June), and Vaikunta Ekadashi celebrated during the Tamil month of Margazhi (December-January) are the two major festivals celebrated in the temple. Verses from Nalayira Divya Prabandham are recited by a group of temple priests amidst music with nagaswaram (pipe instrument) and tavil (percussion instrument).

WIKIPEDIA

Ludlow Castle, Shropshire by Glass Angel

Ludlow Castle

Heritage Category: Scheduled Monument

List Entry Number: 1004778

More information can be found on the link below:-

historicengland.org.uk/listing/the-list/list-entry/1004778

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Ludlow Castle, Castle Square, Ludlow, Shropshire

Ludlow Castle the standing structural remains

Heritage Category: Listed Building

Grade: I Listed

List Entry Number: 1291698

Summary

The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.

Reasons for Designation

The standing structural remains of Ludlow Castle are listed at Grade I for the following principal reasons:

Historical: as one of England's finest castle sites, clearly showing its development from an enclosure castle into a tower keep castle in the C12; the castle played an important historical role particularly as seat of the President of the Council of the Marches; Architectural: the castle remains illustrate significant phases of development between the C11 and the C16; Survival: the buildings are in a ruinous condition, but nonetheless represent a remarkably complete multi-phase complex.

History

An enclosure castle is a defended residence or stronghold, built mainly of stone, in which the principal or sole defence comprises the walls and mural towers bounding the site. Enclosure castles, found in urban and in rural areas, were the strongly defended residence of the king or lord, sited for offensive or defensive operations, and often forming an administrative centre. Although such sites first appeared following the Norman Conquest, they really developed in the C12, incorporating defensive experience of the period, including that gained during the Crusades. Many enclosure castles were built in the C13, with a few dating from the C14, and Ludlow Castle is not alone in having begun as an enclosure castle and developed into a tower keep castle. At Ludlow, the large existing gate tower was converted into a tower keep in the early C12, providing more domestic accommodation, as well as defence.

Ludlow Castle occupies a commanding position at the steep-sided western end of a flat-topped ridge overlooking the valleys of the River Teme and the River Corve. The adjacent town of Ludlow, which was established by the mid-C12, lies to the south and east of the castle. The defences surrounding the medieval town are designated separately. The castle was probably founded by Walter de Lacy in about 1075 and served as the ‘caput' (the principal residence, military base and administrative centre) of the de Lacy estates in south Shropshire until the mid-C13. During the Anarchy of King Stephen's reign the castle was for Matilda until 1139, when it was besieged and captured by Stephen. The de Lacy family recovered the castle in the C12 and retained it, apart from occasional confiscations, until the death of Walter de Lacy in 1241. Ludlow Castle features in an ‘ancestral romance’ called ‘The Romance of Fulk FitzWarren', written in the late C13 about the adventures of a C13 knight. Other documentary sources indicate that when the castle was in royal control it was used for important meetings, such as that held in 1224 when Henry III made a treaty with the Welsh prince, Llewellyn. Following the death of Walter de Lacy in 1241 the castle came into the possession of the de Genevilles, and in the early C14, the castle passed through marriage to Roger Mortimer. Between 1327 and 1330 Roger Mortimer ruled England as Regent, with Edward II's widowed queen, Isabella. Mortimer had himself made Earl of March in 1328. In 1425 the Mortimer inheritance passed to Richard Plantagenet, Duke of York, who made Ludlow a favoured residence. His eldest son, who assumed the title of Earl of March, claimed the crown as Edward IV in 1461. Edward IV's son Edward was created Prince of Wales in 1471, and in 1473 was sent to Ludlow, where the administration of the principality known as the Council in the Marches was established. Both Edward and the Council remained at Ludlow until Edward IV's death in 1483. Ludlow Castle continued as an important royal residence and in 1493 the Council was re-established at Ludlow with Henry VII's son and heir, Prince Arthur as Prince of Wales. In 1501 Arthur was installed at Ludlow with his bride, Katherine of Aragon, and it was at Ludlow that Arthur died in 1502. In 1534 the Council in the Marches received statutory powers both to hear suits and to supervise and intervene in judicial proceedings in Wales and the Marches, and from that time until 1641, and again from 1660 to 1689, Ludlow's principal role was as the headquarters for the Council and, as such, the administrative capital of Wales and the border region. Milton’s mask, ‘Comus’, was first performed here in 1634 before John Egerton, 1st Earl of Bridgewater, in celebration of the earl’s new appointment as Lord President of Wales. On the dissolution of the Council the castle was abandoned and left to decay. Lead, window glass and panelling were soon removed for reuse in the town. In 1771, when the castle was leased to the Earl of Powis, many of the buildings were in ruins.

Since the late C18, the buildings have undergone repair and restoration at various times, as well as some further deterioration, with some rebuilding and replacement of stonework. Extensive archaeological excavations were undertaken by William St John Hope between 1903 and 1907. The castle is now open to the public.

Details

The standing structural remains of Ludlow Castle, an enclosure castle, begun in the late C11, and converted into a tower keep castle in the early C12.

MATERIALS: the castle is constructed of a variety of local stones; it appears that the greenish-grey flaggy calcerous siltstones that underlies the castle was used in its initial phase, with local sandstones being used thereafter.

PLAN: the castle consists of an elliptical INNER BAILEY, in the north-west corner of the site, representing the earliest area of development, with the OUTER BAILEY, created in the second half of the C12, to the south and east.

BUILDINGS:

The curtain wall of the inner bailey incorporates four mural towers and the former gatehouse, all thought to have been constructed by 1115. Three of the four towers are open at the back and would originally have contained wooden scaffolding supporting look-out and fighting platforms. The fourth tower, known as the POSTERN TOWER, on the western side of the enclosure, has small ground-floor postern doorways on its north and east sides. The former gatehouse, situated at the south-eastern part of the enclosure, is rectangular in plan and was originally three storeys in height. Remaining in the ground-floor of the building is part of a wall arcade, thought to be late-C11, with ornamented capitals. In the early C12 a fourth storey was added to provide more domestic accommodation, thus converting the gatehouse into a tower keep, known as the GREAT TOWER. In the later C12 the original gatehouse entrance passage was blocked (the location of the former arch remains visible on the south elevation) and an archway was cut through the adjacent part of the curtain wall to the north-east, reached by a stone bridge. This archway was partially infilled and a smaller arch constructed in the C14. Access to the upper floors of the tower is by a spiral stair to the east, reached by an ornamented doorcase, the Tudor arch having a trefoiled lintel flanked by cusped panelling and trefoiled lintel, which also gives access to rooms in the Judges’ Lodgings (see below). On the first floor is the hall, with a chamber and garderobe to the west. In the second half of the C15 the north wall of the Great Tower was rebuilt and internal floors added to create new rooms lit by enlarged windows. Adjoining the Great Tower, in the south-west section of the inner bailey, is the INMOST BAILEY, a walled enclosure constructed in the C12 and C13 to provide greater security and privacy to those living in the Great Tower. There is a well within this enclosure surrounded by a low stone wall.

Located in the north-eastern sector of the elliptical enclosure of the inner bailey are the remains of the CHAPEL OF ST MARY MAGDALENE. This was built in the first half of the C12, probably by Gilbert de Lacy, and was remodelled in the C16, probably in two phases. In the first phase, thought to have been undertaken circa 1502 for the installation of Arthur, Prince of Wales, a first floor was inserted in the circular nave, together with additional openings, including a first-floor doorway which gave access to a passage linking the chapel with the Great Chamber Block to the north. In the second phase, during the presidency of the Council in the Marches of Sir Henry Sidney (1560-86), the original presbytery and chancel were taken down and a new chancel, or chapel, built, stretching as far as the curtain wall. The crenellated circular nave, which measures 8.3m in diameter internally, survives to its full height as a roofless shell, and contains much original carving to the round-headed order arches of the door openings, with chevron and billet mouldings, and to the internal blind arcade with a variety of capitals and moulded arches.

Since the late C12, the castle site has been entered through the two-storeyed GATEHOUSE within the eastern part of the curtain wall of the outer bailey. The wall originally had two adjoining rectangular mural towers of which the one to the north of the gatehouse survives as a standing structure; this, together with the adjacent section of the curtain wall form part of the CASTLE HOUSE built in the C18 (listed separately at Grade I). Protruding from the curtain wall defining the western side of the outer bailey are the remains of a semi-circular tower known as MORTIMER'S TOWER, possibly built in the early C13; this originally consisted of a ground-floor entrance passage, with two floors above, and was used as the postern entrance to the outer bailey until the C15. In the south-west corner of the outer bailey are the remains of ST PETER’S CHAPEL, originally a free-standing rectangular structure, founded by Roger Mortimer to celebrate his escape from the Tower of London in 1324, following his rebellion against Edward II. The chapel served as the Court House and offices of the Council in the Marches, for which an adjacent building to the west was constructed. The south-east corner of the chapel is now attached to a wall which completes the enclosure of the outer bailey’s south-west corner. In the north wall of the chapel is a blocked two-light window, enlarged at the bottom when a floor was inserted for the court house; a second original window towards the eastern end now contains a first-floor blocked doorway.

At the end of the C13 or in the early C14 an extensive building programme was initiated, replacing existing structures within the inner bailey with a grand new range of domestic buildings, built along the inside of the north section of the Norman curtain wall. The construction of these new buildings indicates the changing role of Ludlow Castle from military stronghold to a more comfortable residence and a seat of political power, reflecting the more peaceful conditions in the region following the conquest of Wales by Edward I. The first buildings to be completed were the GREAT HALL and the adjoining SOLAR BLOCK (private apartments). The Great Hall, which was used for ceremonial and public occasions, consisted of a first floor over a large undercroft, reached through a moulded pointed arch in the south elevation. The Hall was lit on both south and north sides by three pointed-arched windows with sunk chamfers and ‘Y’ tracery formed of paired cusped trefoil-headed lights, under hoodmoulds; these originally had seats, now partially surviving. The central south window was converted to a fireplace, replacing the louver which formerly covered the open fire towards the east of the Hall, its position indicated by elaborate corbels. At the west end, a series of openings lead into the Solar Block, only one of these (that to the north) being of the primary phase. Within the Hall, at the western end, is a timber viewing platform, which is not of special interest.* The Solar Block is thought to have been begun as a two-storey building, and raised to three storeys shortly afterwards, at which time the adjacent NORTH-WEST TOWER was raised, with the new CLOSET TOWER being built in the angle between the two. Each of the three floors of the Solar Block extended into the North-West Tower, with each being linked to a room in the Closet Tower. All three floors of the Solar were heated, the ground floor having a fireplace which originally had a stone hood; the first-floor room has hooded fireplace, on nearly triangular-sectioned jambs; the room above has a plainer hooded fireplace. The windows include original openings with ‘Y’ tracery and trefoil-headed lights, similar to those in the Hall, and a ground-floor mullioned window probably dating from the late C16.

In the early C14 two additional buildings containing more private apartments were constructed by Richard Mortimer. The three-storeyed GREAT CHAMBER BLOCK was built in about 1320 next to the Great Hall to balance the Solar Block to the west of the Hall. The connecting four-storeyed GARDEROBE TOWER, which projects from the curtain wall of the inner bailey, was also probably built about the same time. As in the Hall and Solar blocks, the floors are now lost but features in the walls remain to indicate layout and function. The main entrance to this block is through a recessed doorway in the south-west corner, with a pointed two-light window above. The undercroft was heated, and is lit by two two-light windows with stone side seats in the south wall. The tracery of the eastern of these windows has been lost. The first-floor main room, or ‘Great Chamber’, contains a grand hooded fireplace carried on a fourfold series of corbels; to either side of the fireplace are large head corbels with leafwork. The Tudor transomed and mullioned window probably replaced an earlier window. The upper room also has a large hooded fireplace, and was lit principally by a large trefoil-headed window with head-stopped hoodmould in the southern wall.

Following the establishment of the headquarters for the Council in the Marches at Ludlow, new buildings were constructed and many existing buildings changed their use. Within the inner bailey the main room in the Great Chamber Block became the council chamber, with additional chambers above. A new adjoining residential block, now called the TUDOR LODGINGS, was built to the east, replacing earlier structures. The block consisted of two sets of lodgings both being of three storeys with attic rooms above. The south wall of this block cuts across openings in the east wall of the Great Chamber Block. Between the lodgings, projecting from the south wall, is a circular stair tower, entered through an ogee-headed arch. The windows in the south elevation are mullioned; several have been blocked. In the north wall of the western lodging, at ground-floor level, is an opening with double trefoil head, having a divided light above. Otherwise, the features of this range are plain, with pointed door openings, and straight lintels to fireplaces.

As the power of the Council grew, further domestic accommodation was needed. To the east of the entrance within the inner bailey, a three-storeyed range, known as the JUDGES LODGINGS, was completed in 1581. On the south side, this building extends the curtain wall upwards, with two gables, and piercing for fenestration, the earlier arched entrance to the inner bailey becoming visually part of the newer building, with rooms above; stone arms set immediately over the archway dated 1581 commemorate the Presidency of the Council of Sir Henry Sidney. Rooms set above the arch leave a gate-passage leading through a second archway to the inner bailey, and giving access to both the Great Keep and the Judges’ Lodgings. The rooms above the gate-passage appear to have been accessed by the embellished Tudor-arched doorway in the Keep at the north end of the passage. The north side of the Judges’ Lodgings, within the inner bailey, has a polygonal stair turret (which originally had a pyramidal roof), with mullioned and transomed eight-light windows set regularly to either side. Within, some indication is given of the arrangement and appearance of the rooms by the survival of numerous fireplaces of red sandstone backed by brick set in herringbone pattern. The adjoining building to the east, originally two-storeyed, is thought to date from the C17.

Other developments during the C16 included changes to the south-west corner tower, enclosed within the inmost bailey, with the installation of a large oven at ground-floor level, with residential rooms above; the tower became known as the OVEN TOWER. In 1522 the PORTER'S LODGE was built in the outer bailey to the south of the gatehouse. The shell of this building now contains the castle shop; the modern structure and fittings of the shop are not of special interest.* Also dating from 1522 is the PRISON, adjoining to the south, which retains square-headed windows with moulded frames and hoodmoulds, and the stable block, completed in 1597, with mullioned windows. Like the porter's lodge, these buildings remain as incomplete shells.

*Pursuant to s.1 (5A) of the Planning (Listed Buildings and Conservation Areas) Act 1990 ('the Act'), it is declared that these aforementioned features are not of special architectural or historic interest.

Sources

Books and journals

Cathcart-King, D J, Castellarium Anglicanum, (1983)

Goodall, J, The English Castle, 1066-1650, (2011)

H M Colvin, D R Ransome, The History of the KIng's Works, vol 3, (1975)

Kenyon, J, Castles in Wales and the Marches Essays in honour of DJ Cathcart King, (1987), 55-74

Pevsner, N, Newman, J, The Buildings of England: Shropshire, (2006)

R Allen Brown, H M Colvin, The History of the King's Works, vol 2, (1963)

Shoesmith, R, Johnson, A (eds), Ludlow Castle. Its History and Buildings, (2000)

'' in Archaeological Investigations Ltd, Hereford archaeology series, (1991)

W. H. St John Hope, , 'Archaeologia' in The Castle of Ludlow, (1908)

Other

Pastscape Monument No. 111057,

Shropshire HER 01176,

historicengland.org.uk/listing/the-list/list-entry/1291698

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Ludlow Castle, Castle Square, Ludlow, Shropshire

Construction of Ludlow Castle began in the late 11th century by the de Lacy's and held by them until the 13th century. In the 14th century it was enlarged by the Mortimers. In the 15th century ownership transferred between the House of York and Lancashire during the War of the Roses. In Elizabethan times the castle was further extended by Sir Henry Sidney. After the civil war the castle declined. It is now owned by the Earl of Powys for the crown.

Grade I listed.

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Welcome to Ludlow Castle, one of the finest medieval ruins in England. Set in the glorious Shropshire countryside at the heart of the superb, bustling black & white market town of Ludlow. Walk through the Castle grounds and see the ancient houses of kings, queens, princes, judges and the nobility – a glimpse into the lifestyle of medieval society

The Castle, firstly a Norman Fortress and extended over the centuries to become a fortified Royal Palace, has ensured Ludlow’s place in English history – originally built to hold back unconquered Welsh, passing through generations of the de Lacy and Mortimer families to Richard Plantagenet, Duke of York. It became Crown property in 1461 and remained a royal castle for the next 350 years, during which time the Council of the Marches was formed with responsibility for the Government of Wales and the border counties. Abandoned in 1689 the castle quickly fell into ruin, described as ‘the very perfection of decay’ by Daniel Defoe

Since 1811 the castle has been owned by the Earls of Powis, who have arrested further decline, and allowed this magnificent historical monument to be open to the public. Today the Castle is the home to Ludlow’s major festivals throughout the year and open for all to enjoy.

www.ludlowcastle.com/the-castle/

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en.m.wikipedia.org/wiki/Ludlow_Castle

India - Odisha - Konark - Sun Temple -170- by Manfred Sommer

Konark Sun Temple ([koɳarəkə]; also Konârak) is a 13th-century Sun Temple at Konark in Odisha, India. It is believed that the temple was built by king Narasimhadeva I of Eastern Ganga Dynasty around 1250 CE. The temple is in the shape of a gigantic chariot elaborately carved stone wheels, pillars and walls. A major part of the structure is now in ruins. The temple is a UNESCO World Heritage Site and has also featured on various list of Seven Wonders of India.

ETYMOLOGY

The name Konark derives from the combination of the Sanskrit words, Kona (corner) and Arka (sun), in reference to the temple which was dedicated to the Sun god Surya.

The monument was also called the Black Pagoda by European sailors. In contrast, the Jagannath Temple in Puri was called the White Pagoda. Both temples served as important landmarks for the sailors.

ARCHITECTURE

The temple was originally built at the mouth of the river Chandrabhaga, but the waterline has receded since then. The temple has been built in the form of a giant ornamented chariot of the Sun god, Surya. It has twelve pairs of elaborately carved stone wheels which are 3 meters wide and is pulled by a set of seven horses (4 on the right and 3 on the left). The temple follows the traditional style of Kalinga architecture. It is carefully oriented towards the east so that the first rays of sunrise strikes the principal entrance. The temple is built from Khondalite rocks.

The original temple had a main sanctum sanctorum (vimana), which was supposedly 70 m tall. Due to the weight of the super structure and weak soil of the area the main vimana fell in 1837. The audience hall (Jagamohana), which is about 30 m tall, still stands and is the principal structure in the surviving ruins. Among the structures, which have survived to the current day, are the dance hall (Nata mandira) and dining hall (Bhoga mandapa).

The Konark temple is also known for its erotic sculptures of maithunas.

Two smaller ruined temples have been discovered nearby. One of them is called the Mayadevi Temple and is located southwest from the entrance of the main temple. It is presumed to have been dedicated to Mayadevi, one of the Sun god's wives. It has been dated to the late 11th century, earlier than the main temple. The other one belongs to some unknown Vaishnava deity. Sculptures of Balarama, Varaha and Trivikrama have been found at the site, indicating it to be a Vaishnavite temple. Both temples have their primary idols missing.

A collection of fallen sculptures can be viewed at the Konark Archaeological Museum which is maintained by the Archaeological Survey of India.

HISTORY

ANCIENT TEXTS

According to Bhavishya Purana and Samba Purana, there may have been a sun temple in the region earlier than current one, dating to the 9th century or earlier. The books mention three sun temples at Mundira (possibly Konark), Kalapriya (Mathura), and Multan.

According to the scriptures, Samba, the son of Krishna, was cursed with leprosy. He was advised by the sage, Kataka, to worship the sun god to cure his aliment. Samba underwent penance for 12 years in Mitravana near the shores of Chandrabhaga. Both the original Konark temple and the Multan temple have been attributed to Samba.

The Periplus of the Erythraean Sea (1st Century CE) mentions a port called Kainapara, which has been identified as current day Konark.

SUN DIAL AND TIME

The wheels of the temple are sundials which can be used to calculate time accurately to a minute including day and night.

SECOND TEMPLE

According to the Madala Panji, there was another temple in the region. It was built by one Pundara Kesari. He may have been Puranjaya, the 7th century ruler, of the Somavasmi Dynasty.

NARASIMHADEVA I

The current temple is attributed to Narasimhadeva I of the Eastern Ganga Dynasty. His reign spanned from 1238 to 1264 CE. The temple may have been a monument to his victory against Tughral Tughan Khan.

DHARMAPADA´S TALE

According to local folklore, Narasimhadeva I had hired a chief architect called Bisu Maharana to build the temple. After a period of twelve years, a workforce of twelve thousand almost finished the construction. But, they failed to mount the crown stone. The impatient king ordered the temple to be finished in three days or the artisans be put to death. At the time, Bisu Maharana's twelve-year-old son, Dharmapada arrived at the site. Bisu Maharana had never seen his son, as he had left his village when his wife was still pregnant. Dharmapada successfully proposed a solution to mount the crown stone. But, the artisans were still apprehensive that the king will be displeased to learn that a boy succeeded where his best artisans failed. Dharmapada climbed onto the temple and leapt into the water to save his father and his co-workers.

COLLAPSE

There have been several proposed theories for the collapse of the main sanctum. The date of the collapse is also not certain.

The Kenduli copper plates of Narasimha IV (Saka 1305 or 1384 CE) states the temple to be in a perfect state.

In the 16th century Ain-i-Akbari, Abul Fazl also mentions Konark being in a proper state. The account also mentions the cost of construction being 12 years of revenue.

The cause of collapse is also placed on Kalapahad who invaded Odisha in 1568.

In 1627, the then Raja of Khurda had removed the sun idol from Konark and moved it to the Jagannath temple in Puri.

James Fergusson (1808–1886) had the opinion that marshy foundation had caused the collapse. But, the structure has shown no sign of sinking into its foundation. Fergusson, who visited the temple in 1837, recorded a corner of the main sanctum still standing. It also fell down in 1848 due to a strong gale.

According to Percy Brown (1872–1955), the temple was not properly completed and so it collapsed. This contradicts earlier recorded accounts of the temple being in a proper state.

In 1929, an analysis of a moss covered rock estimated the date of abandonment at around 1573.

Other proposed causes include lightning and earthquake.

ARUNA STAMBHA

In the last quarter of the 18th century, when worship had ceased in the temple, the Aruna stambha (Aruna pillar) was removed from the entrance of Konark temple and placed at the Singha-dwara (Lion's Gate) of the Jagannath temple in Puri by a Maratha Brahmachari called Goswain (or Goswami). The pillar is made of monolithic chlorite and is 10.26 m tall . It is dedicated to Aruna, the charioteer of the Sun god.

PRESERVATION EFFORTS

In 1803, requests were made for conservations by the East India Marine Board, but only removal of stones from the site was prohibited by the Governor General. As a result, a part of the main tower, which was still standing, collapsed in 1848.

The then Raja of Khurda removed some stones and sculptures to use in a temple he was building in Puri. A few gateways and some sculptures were destroyed in the process. In 1838, after the depredation of the Raja of Khurda, Asiatic Society of Bengal requested conservation, but the requests were denied and only preventative of human-caused damages were guaranteed. The Raja was forbidden to remove any more stones.

In 1859, Asiatic Society of Bengal proposed moving an architrave depicting the navagraha to the Indian Museum in Calcutta. The first attempt in 1867 was abandoned as the funds ran out.

In 1894, thirteen sculptures were moved to the Indian Museum.

In 1903 when a major excavation was attempted nearby, the then Lieutenant governor of Bengal, J. A. Baurdilon, ordered the temple to be sealed and filled with sand to prevent the collapse of the Jagamohana.

In 1906, casuarina and punnang trees were planted facing the sea to buffer the site against sand-laden winds.

In 1909, the Mayadevi temple was discovered while removing sand and debris.

The temple was granted World Heritage Site status by the UNESCO in 1984.

WIKIPEDIA

Huge 'Puppy' flower sculpture in front of the Guggenheim Bilbao Museum by Jim Johnson

From Wikipedia:

The Guggenheim Museum Bilbao is a museum of modern and contemporary art, designed by Canadian-American architect Frank Gehry, built by Ferrovial, and located in Bilbao, Basque Country, Spain. It is built alongside the Nervion River, which runs through the city of Bilbao to the Atlantic Coast. One of the most admired works of contemporary architecture, the building has been hailed as a "signal moment in the architectural culture", because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something

India - Tamil Nadu - Kanchipuram - Vaikunta Perumal Temple - 59 by Manfred Sommer

Thiru Parameswara Vinnagaram or Vaikunta Perumal Temple is a temple dedicated to the Hindu god Vishnu, located in Kanchipuram in the South Indian state of Tamil Nadu. Constructed in the Dravidian style of architecture, the temple is glorified in the Divya Prabandha, the early medieval Tamil canon of the Azhwar saints from the 6th–9th centuries AD. It is one among the 108 Divyadesam dedicated to Vishnu, who is worshipped as Vaikuntanathan and his consort Lakshmi as Vaikundavalli.

The temple is believed to have been built by the Pallava king Nandivarman II (720-96 CE), with later contributions from Medieval Cholas and Vijayanagar kings. The temple is surrounded by a granite wall enclosing all the shrines and water bodies of the temple. Vaikuntanathan is believed to have appeared to king Viroacha. The temple follows Vaikasana Agama and observes six daily rituals and two yearly festivals. The temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.

LEGEND

As per Hindu legend, the region where the temple is located was called Vidarbha Desa and ruled by a king named Viroacha. Due to his misdeeds in preceding birth, Virocha had no heir. He prayed in Kailasanathar Temple and Shiva, the presiding deity of the temple gave a boon that the Dvarapalas (the gatekeepers) of the Vishnu temple will be born as sons to him. The princes were devoted to Vishnu and conducted yagna for the welfare of the people of their kingdom. Vishnu was pleased with the worship and appeared as Vaikundanatha to the princes.

TEMPLE

As per Dr. Hultzh, Parameswara Vinnagaram was constructed by the Pallava King Nandivarman II in 690 CE, while other scholars place it in the late 8th century. Pallavamallan was a worshipper of Vishnu and a great patron of learning. He renovated old temples and built several new ones. Among the latter was the Parameswara Vinnagaram or the Vaikunta Perumal temple at Kanchipuram which contains inscribed panels of sculpture portraying the events leading up to the accession of Pallavamalla to the throne. The great Vaishnava saint Thirumangai Alvar was his contemporary.

Three sanctuaries host the image of Vishnu in different postures - seated (ground floor), lying (first floor; accessible to devotees only on ekadashi days) and standing (second floor; inaccessible to devotees). The logical and complex plan of the temple provided a prototype for the much larger shrines to be constructed all over Tamil Nadu. The external cloisters, for instance, with their lion pillars, are predecessors of the grand thousand pillared halls of later temples.

This temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon by Thirumangai Alvar in 10 hymns. The temple is classified as a Divyadesam, one of the 108 Vishnu temples that are mentioned in the Vaishnava canon. The temple is one of the fourteen Divyadesams in Kanchipuram and is part of Vishnu Kanchi, the place where most of the Vishnu temples in Kanchipuram are located.

FESTIVALS & RELIGIOUS PRACTICES

The temple follows Vaikasana Agama. The temple priests perform the pooja (rituals) during festivals and on a daily basis. Like other Vishnu temples of Tamil Nadu, the priests belong to the Vaishnavaite community, a Brahmin sub-caste. The temple rituals are performed six times a day: Ushathkalam at 7:30 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 12:00 p.m., Sayarakshai at 5:00 p.m., Irandamkalam at 6:00 p.m. and Ardha Jamam at 7:30 p.m. Each ritual has three steps: alangaram (decoration), neivethanam (food offering) and deepa aradanai (waving of lamps) for both Vaikuntanathan and Vaikundavalli. During the last step of worship, religious instructions in the Vedas (sacred text) are recited by priests, and worshippers prostrate themselves in front of the temple mast. There are weekly, monthly and fortnightly rituals performed in the temple. The Vaikasi Brahmotsavam, celebrated during the Tamil month of Vaikasi (May-June), and Vaikunta Ekadashi celebrated during the Tamil month of Margazhi (December-January) are the two major festivals celebrated in the temple. Verses from Nalayira Divya Prabandham are recited by a group of temple priests amidst music with nagaswaram (pipe instrument) and tavil (percussion instrument).

WIKIPEDIA

Inch Abbey Co. Down by Stefan Lassus

Inch Abbey 'Mainistir na hInse' or in Ulster-Scots: Änch Abbey is a large, ruined monastic site near Downpatrick, County Down, on the north bank of the River Quoile in a hollow between two drumlins and featuring early Gothic architecture.

The site was originally on an island (Irish: Inis) in the Quoile Marshes. The pre-Norman Celtic monastic settlement here, known as Inis Cumhscraigh (or Inis Cuscraidh), was in existence by the year 800. In 1002 it was plundered by the Vikings led by Sitric, King of the Danes, who came up the Quoile with a fleet from the sea. The Vikings plundered the settlement again in 1149. Its large earthwork enclosure has been traced from aerial photographs. On the ground, the early bank and ditch can be followed along the line of trees on the eastern boundary of the site, and partly along the western boundary. The buildings of the early monastery would have been made of timber.

Inch Abbey was established as a Cistercian house by John de Courcy and his wife Affreca. Inch, or Iniscourcy, was erected as an act of repentance for the destruction of the Abbey at Erinagh (or Erenagh) by de Courcy in 1177. It was colonised directly by monks from Furness Abbey in Lancashire in 1180, along with some of the monks from Erinagh. The Cistercian monastery was located near to the river in the southern area of the Early Christian earthwork enclosure.

The Cistercian precinct was enclosed by a bank and ditch extending north and south from the parish graveyard to the river and east to west up the valley sides. The buildings are mainly of the late 12th century and the 13th century. The church was built about 1200, in the Cistercian cruciform plan with a low tower at the crossing, an aisled nave to the west and two projecting transepts each with a pair of chapels. Only the impressive east window remains. The chancel wall has three, well-proportioned, pointed windows, the middle one being 23 ft high. The chancel was 42 ft by 27 ft. There was an altar in each of the rib-vaulted transept chapels and in the north transept is a door out to the monk's cemetery and a tower with broken stairs in the north-west angle. On the stone plinth of the north transept's exterior north wall a number of incised symbols can be seen which are mason's marks. The high altar was under the east windows and in the south wall are the remains of a triple sedilia (seats for the priests) and a piscina for washing the altar vessels.

The community of monks was probably never very large, and this may have led to the decision to reduce the size of the church by walling off a smaller area to the east end. Some continuity was maintained with the 13th century work by reusing a fine door of that period as the west door of the reduced church. In the 15th century, when the monastic community was smaller, the church was altered. Through the walling in of the chancel and first bay of the nave, and blocking off the transepts, a much smaller church was created and the rest was abandoned. The cloister walks to the south have disappeared, but foundations of the east and south ranges remain, as well as outlying buildings toward the river. These include an infirmary and a bakehouse with two ovens and a well nearby.

Judged by medieval standards the abbey was wealthy. In 1380 Parliament tried to help waning English influence by restricting the membership of the Order at Inch to English or Anglicised Irish. Twenty-four years later, the abbey was burned and that, perhaps together with the collapse of a central tower and a dwindling community, gave the impetus to alter the size of the church. Monastic life continued, most likely on a small scale, until the 16th century, but the Abbey had been dissolved by 1541, when the abbey with about 850 acres of land was granted to Gerald, Earl of Kildare, along with other monasteries.

Inch Abbey Downpatrick, was the setting where Rob Stark was crowned King of the North, in the TV series Game of Thrones.

Artist Drawing by Shutterfool

1

Bedford, PA

The Coffee Pot in Bedford, Pennsylvania is an example of novelty architecture. The lunch stand was built in the shape of a coffee pot by David Koontz in 1927. It was threatened with demolition in the 1990's, but in 2004 was moved across the street and restored

The Pennsylvania Heritage Areas Program of the PA Department of Conservation and Natural Resources and the PA Historical and Museum Commission both felt saving the Coffee Pot was of paramount importance and awarded generous grants towards its restoration. In addition to federal and state awards, the Community Foundation of the Alleghenies and the Bedford Rotary Sunrise Club provided much-needed funds. Private donations hailed from 13 states.

www.lhhc.org/content/subpag/pot.htm

Blue Mosque - Sultan Ahmed Mosque, Sultanahmet Square, Istanbul, Turkey. by HISTOGRAPHY by DM & DBM.

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The Blue Mosque, officially the Sultan Ahmed Mosque (Turkish: Sultan Ahmet Camii), is an Ottoman-era historical imperial mosque located in Istanbul, Turkey. It was constructed between 1609 and 1617 during the rule of Ahmed I and remains a functioning mosque today. It also attracts a large number of tourists and is one of the most iconic and popular monuments of Ottoman architecture.

The mosque has a classical Ottoman layout with a central dome surrounded by four semi-domes over the prayer hall. It is fronted by a large courtyard and flanked by six minarets. On the inside, it is decorated with thousands of Iznik tiles and painted floral motifs in predominantly blue colours, which give the mosque its popular name. The mosque's külliye (religious complex) includes Ahmed's tomb, a madrasa, and several other buildings in various states of preservation.

The mosque was built next to the former Hippodrome and stands across from the Hagia Sophia, another popular tourist site. The Blue Mosque was included in the UNESCO World Heritage Site list in 1985 under the name of "Historic Areas of Istanbul".

After the Peace of Zsitvatorok, seen as a blow to Ottoman prestige, Sultan Ahmed I decided to build a large mosque in Istanbul in the hope of soliciting God's favour. He was the first sultan to build an imperial mosque since Selim II (d. 1574), as both Murad III and Mehmed III before him had neglected to construct their own.

The mosque was built on the southeast side of the old Byzantine Hippodrome, near the Hagia Sophia (the most important mosque of the Ottoman Empire), a site of significant symbolic significance that allows it to dominate the city's skyline. The mosque's location was originally occupied by the Hippodrome's bleachers and its imperial box (where the emperor sat when attending events here). During excavations in the early 20th century, some of the ancient seats were discovered in the mosque's courtyard. Given the mosque's location, size, and number of minarets, it is probable that Sultan Ahmed intended to create a monument that rivalled or surpassed the Hagia Sophia.

Prior to construction, this site was occupied by the palaces of several Ottoman viziers, including Sokollu Mehmet Pasha and Güzel Ahmet Pasha, which required a costly expropriation process. This, along with the fact that the empire was under economic stress, aroused the protests of the ulema (Islamic legal scholars), who argued that sultans should only fund the construction of an imperial mosque with spoils of conquest. Ahmed I had won no major victories and thus had to divert funds from the treasury for this expensive project. The ulema went so far as to forbid Muslims from praying at the mosque.

Despite the opposition, the sultan went ahead with the project. Construction started in 1609 and completed in 1617, when the opening ceremony was held, though the year 1616 is mentioned on some of the mosque's inscriptions. Ahmed I died around the same time or very soon afterwards in 1617. Scholar Godfrey Goodwin notes that the last accounting reports on the mosque's construction were signed by Mustafa I, Ahmed I's successor, which suggests that Ahmed I had died before the final completion of the project.

In the end, the mosque's grandeur, its luxurious decoration, and the elaborate public ceremonies that Ahmed I organized to celebrate the project appear to have swayed public opinion and overcome the initial controversy over its construction. It became one of the most popular mosques in the city. The mosque has left a major mark on the city and has given its name to the surrounding neighbourhood, now known as Sultanahmet.

In 1883, much of the mosque interior's painted decoration was replaced by new stenciled paintwork, some of which changed the original colour scheme. A major fire in 1912 damaged or destroyed several of the outlying structures of the mosque complex, which were subsequently restored.

A major restoration of the mosque took place in the 21st century. During preparatory work in 2013, it was discovered that the mosque's northwest minaret had shifted 5 centimetres (2.0 in) over time, constituting a potential threat to its structural stability. Work to reconstruct and repair the minaret was underway in 2015. Comprehensive restoration work on the rest of the mosque began in 2018 and was finished in April 2023.

ROTHMAN. MAURICE AND THELMA, HOUSE by National Register of Historic Places

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Saint Petersburg, Florida

Listed 02/27/2013

Reference Number: 13000034

The Rothman House is significant at the local level for listing in the National Register of Historic Places under Criterion C in the area of Architecture. The building is a significant example of Mid-Century Modern architecture. The residence embodies a radical modification of common residential planning and design in transforming the traditional simple exterior and interior plans into a dramatic series of hexagons, while retaining emphasis on open planning and the extensive use of glass and attenuated wall features to make buildings appear lighter, blurring the distinction between the interior and exterior. The design borrows from Frank Lloyd Wright's concept of the Hexagonal Usonian house type and is also inspired by the open plan and extensive use of glass walls and partitions employed by the leading architects of Florida's Sarasota School of Architecture. St. Petersburg architect Martin P. Fishback, Jr. made use of large expanses of glass, and a dramatic use of the merging of inside and outside spaces through the use of an open plan in a building composed of two wings connected by a transition bridge. Fishback expanded on Wright's use of the hexagon as the construction module by employing it for the shape of major rooms partly encased in glass walls. Fishback also varied the floor level of the dining and living rooms in the one-story house to further blur the distinction between the exterior and interior spaces.

National Register of Historic Places Homepage

ROTHMAN. MAURICE AND THELMA, HOUSE, Saint Petersburg, Florida, Summary Page

National Register of Historic Places on Facebook

Modern Valencia Architecture ( The Arts & Science Buildings) OM-1 & Laowa 6mm f2 Wide Angle Prime Lens by markdbaynham

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Margaret Burger Apartment House by South Dakota State Historic Preservation Office

The Margaret Burger Apartment House in Sioux Falls, Minnehaha County, South Dakota was built in 1919 and listed on January 4, 2021 in the National Register of Historic Places for its local significance in the areas of Social History and Architecture. The City of Sioux Falls experienced massive growth and maturation in the early twentieth century, as the population more than doubled between 1900 and 1916. A new building type entered the city’s landscape—purpose-built apartment buildings—an option that was particularly appealing to the growing class of younger, white-collar professionals who often looked for alternatives to single-family housing.

“Apartment house” structures that were built with apartment units, but designed to blend with surrounding single-family housing, had a unique role in the city’s built landscape. It was residential construction that used traditional design in traditional neighborhoods to accommodate modern living styles and demographic patterns. Traditional design elements also fit on smaller house lots when property owners in the early twentieth century subdivided older, larger lots for new construction.

Architectural characteristics of the Prairie-influenced apartment house are retained in the low-pitched, flared hip roof with boxed eaves, side roof dormers, clapboard siding around the house, one-over-one wood sash windows, the two-level porch with large paneled columns, as well as interior features in the corridors including woodwork and the corner staircase.

India - Maharashtra - Ellora Caves - Kailasa Temple - 26 by Manfred Sommer

The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.

METHOD OF CONSTRUCTION

The Kailasa Temple is notable for its vertical excavation - carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.

ARCHITECTURE

All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.

A rock bridge connects the Nandi Mandapa to the porch of the temple. The structure itself is a tall pyramidic South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).

There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.

WIKIPEDIA

Gulangyu Island, banyan tree by Linda De Volder

China. Fujian province. Xiamen.

Gulangyu Island, with an area of 1.87 square kilometers and a population of 20,000, preserves more than 1000 historical buildings with different styles and is known as China's Museum of Architecture.

During the Ming Dynasty (1368-1644), the island was called 'Yuanshazhou Island'. It got its present name from the huge reef surrounding it. When the tide comes in, the waves pound the reef and it sounds like the beating of a drum. The island came to be named 'Gulang'. Gu in Chinese means 'drum', and Lang, 'waves'.

During the later Ming Dynasty, the troops of national hero Zheng Chenggong were stationed here. After the Opium War in 1842, 13 countries including Great Britain, France and Japan established consulates, churches, and hospitals, turning the island into a common concession. In 1942, Japan occupied the island until the end of the War of Resistance against Japan.

Gulangyu Island has about 20,000 permanent residents, all of whom enjoy a comfortable, relaxing life. Only electric-powered vehicles are permitted on the island, so the environment is free from the noise and pollution of combustion engines. Breathing the clean air, appreciating the ever-present green trees and lovely flowers, anyone here can feel like they are in heaven. With classical and romantic European-style architecture, the island truly deserves to be called the'Architecture Museum'. It is also known as the 'Cradle of Musicians' and 'Island of Music' because of its reputation for music appreciation.

The Island Ring Road, which circles the island, allows you to fully enjoy all the sights of this small, charming island.

Among the many scenic spots on the island, the most attractive are Sunlight Rock and the Shuzhuang Garden.

www.travelchinaguide.com/attraction/fujian/xiamen/gulang.htm

The Elms Historic District by National Register of Historic Places

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Excelsior Springs, Missouri

Listed 3/31/2014

Reference Number: 14000091

The Elms Historic District is locally significant under Criterion A in the areas of entertainment/recreation and health/medicine. It is also significant under Criterion C in the area of architecture. The district and many of its resources were built as a result of the health industry that grew around the numerous mineral waters found in Excelsior Springs, and are thus significant under health/medicine. The health industry was the basis for the town's founding and its economy for nearly a century, earning Excelsior Springs its moniker as -Missouri's National Health Resort.- In the area of entertainment/recreation, several buildings were constructed to accommodate a new class of tourists. The large Elms Hotel complex was developed to attract not only health-seekers, but also tourists seeking leisure or recreational pursuits. While the large hotel building was previously listed on the National Register in the areas of architecture and commerce (3/29/85), the grounds and outbuildings were not included in that nomination, and the entire complex's association with entertainment/recreation was not fully developed. In addition to the Elms Hotel, several boarding houses were built in the district accommodating those who could not afford the first class Elms Hotel. Significance in architecture is represented by a number of examples of Early Twentieth Century Revival and American Movement styles, as well and folk house forms that reflect veniacular residential architecture in the United States. There are also several representatives of the ""boarding house/apartment"" property type as defmed in the MPDF. Finally, there are well crafted examples of Early Twentieth Century Revival styles that were designed by prominent local and regional architects: John 0. Bradley, Jackson & Mcilvain, and George M. Siemens. The district as a whole retains integrity for eligibility under the registration requirements established in the MPDF, while a few buildings possess integrity and significance in architecture for individual listing.

National Register of Historic Places Homepage

The Elms Historic District Summary Page

National Register of Historic Places on Facebook

India - Tamil Nadu - Mamallapuram - Five Rathas - 53 by Manfred Sommer

Pancha Rathas (also known as Pandava Rathas) is a monument complex at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the Kancheepuram district of the state of Tamil Nadu, India. Pancha Rathas is an example of monolithic Indian rock-cut architecture. Dating from the late 7th century, it is attributed to the reign of King Mahendravarman I and his son Narasimhavarman I (630–680 AD; also called Mamalla, or "great warrior") of the Pallava Kingdom. An innovation of Narasimhavarman, the structures are without any precedent in Indian architecture. The complex is under the auspices of the Archaeological Survey of India (ASI) and is part of the UNESCO World Heritage site inscribed by UNESCO as Group of Monuments at Mahabalipuram.

Each of the five monuments in the Pancha Rathas complex resembles a chariot (ratha), and each is carved over a single, long stone or monolith, of granite which slopes in north-south direction with a slight incline. Though sometimes mistakenly referred to as temples, the structures were never consecrated because they were never completed following the death of Narasimhavarman I. The structures are named after the Pancha Pandavas and their common wife Draupadi, of epic Mahabharata fame. In order of their size, they include the Dharmaraja Ratha, Bhima Ratha, Arjuna Ratha, Nakula Sahadeva Ratha, and Draupadi Ratha.

ETYMOLOGY

The monoliths are named after the Pandavas – Arjuna, Bhima, Yudhishthira ("Dharmaraja"), Nakula and Sahadeva – and Draupadi. These names are considered to be a misrepresentation as the structures have no link to the iconic characters of the Mahabharata epic. They have no religious significance either, as they remained unfinished and unconsecrated; the uncut rock parts at the base and top of the rathas are still visible. The ASI confirmed the unfinished nature of the structures and suggested that they instead be referred to as vimanas. However, the Pandava names have become permanent.

HISTORY

According to a plaque displayed at the site by the ASI, the Pallava dynasty had planned the structures as models of chariots in rock based on prototypes of ancient rathas built in wood. The Pancha Rathas were carved during the reign of King Mahendravarman I and his son Narasimhavarman I. Work on these five rathas was discontinued following the death of Narasimha Varman in 668 AD. The purpose of their construction is not known as the structures were not completed. Part of the collection within the Group of Monuments at Mahabalipuram, they were classified as a UNESCO World Heritage Site in 1984.

GEOGRAPHY

The site is located at Mahabalipuram (previously known as Mammallapuram), on the Coromandel Coast of the Bay of Bengal, in Kancheepuram district. It is approximately 56 km south of Chennai (previously known as Madras), the capital city, while Chengalpattu is about 32 km distant. The structures are part of the nine monolithic rock cut structures seen here.

ARCHITECTURE

LAYOUT

Each of the five rathas is a monolith, carved whole from a rock outcropping of pink granite. They are carved over a common mounted plinth which is north-south oriented with a slight slope. Each has a different layout, such as square, rectangular, or apsidal plans. The largest measures 13×11 m, and the tallest is 12 m high.

REPRESENTATIONS

The Pancha rathas represent the diversity of Dravidian architecture of the time and it is likely that their original design traces back to wood constructions of temple chariots and were scale models or templates for much bigger temples built subsequently in Tamil Nadu. Most of the rathas are stated to be modelled on the Buddhist Viharas and Chaityas.

DESIGN

The structural design and elevation are with towers or domes with single (ekathala) to triple (trithala) towers, which present a unique exhibition of South Indian Dravidian architecture. The chiseling done by the stone sculptors are occasional along joints between the stones. The walls are arranged and sequentially partitioned. The projections and recesses in these walls give the appearance of a set of shallow pilasters. The niches created in the walls are of rectangular shape and have carved sculptures of gods, demi-gods and the kings. The skirting around the images are of wild aquatic animals with “foliated tails and open jaws.” The wall pilasters have curved brackets, and columns on the porch provide support to an overhanging eave; arch windows occasionally carved with images are located above them. The mouldings culminate in parapets. The carvings above the eave overhangs are decorated roof forms in miniature size, which are seen in rows all round each of the structure.

PRESERVATION

The rathas have been preserved well on account of the sturdiness of their material, granite, and in spite of constant salty winds from the Bay of Bengal and catastrophic tsunamis in 13th century and in 2004.

NOTABLE LANDMARKS

The architectural elegance of the Dharmaraja Ratha is its pyramidal structure which rises in three steps. It is built with a square layout. Its composition has been accentuated with carvings of Hindu gods Harihara, Brahma, Skanda, Ardhanarishvara and King Narasimhavarman I. One of the distinctive carvings seen on the eastern face of the rahta is of Indra (a demi-god of rain and thunderstorms), seated on his mount Airavata (meaning: "a White Elephant"). There is also an independent monolithic stone sculpture of Nandi, adjoining this ratha in the open space. The next in order is the Arjuna Ratha, which is well decorated with an elegant façade and is akin to the Dharmaraja Ratha. Next in line is the Bhima Ratha built to a rectangular plan and with lion mounted columned (four columns) galleries on both long sides. The Nakula Sahadeva Ratha is the next in line. It is built to a simple plan with no embellishing carvings in its apses. A stone monolithic sculpture of an elephant is fixed in the open space, next to this ratha. The Draupadi Ratha, which is the last in the line, is a square structure, which resembles a village hut with thatch roof. The fresco inside this shrine is of mother goddess Durga.

WIKIPEDIA

Luminarie De Cagna by Monique

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Project Luminarie De Cagna

Luminarie De Cagna is an Italian family concern that was founded in 1930. Then the firm illuminated buildings and squares on festive occasions with oil and carbide lamps. Soon they switched to electric lights and since 2006 they use for new projects LED's only. The LED’s are chained into great curtains of light that are fixed on buildings or stretched on detached elements. In this way, whole streets and even squares are fully lightened.

During GLOW the Demer, one of the main shopping streets of Eindhoven, is the domain of Luminarie De Cagna. Made of a wooden construction and hundreds of thousands of colored lights a huge colonnade is built which resembles of Romanesque or Renaissance architecture. The entrance area looks impressive with its 28 meters of height. People can walk through this fairy-tale like gallery and feel surrounded by light and color. In addition, every few minutes, accompanied by music, a spectacle can be watched with a slightly touch of kitsch.

Dickens Dress by Cossette

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This is a tribute creation to Mr. Charles Dickens and his books, his stories and characters which are full of charm, moral and humanity. This dress may take you back in time to the XIX century when things were different. For one telephone communication was in its infancy, tea was good and cats were as always, just cats. Cossette loves the Victorian era, the aesthetics, the architecture, the customs, the fashion and the Victorian world in general. Mind you Cossette likes it a lot but on a second thought she would prefer to stay where she is because life back than was harder and more cruel than it is now. At Cossette we like to watch the Victorians from the comfort of our armchairs, through a pin hole and not much else. You can be sure however that we love it, it is very inspirational and rich. Old fashioned and old school yet elegant and very chic!

Baker County Tourism – www.travelbakercounty.com 60382 by Baker County Tourism Travel Baker County

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First Friday Art Walk in Baker City Oregon

A beautiful evening celebrating the arts during the First Friday Art Walk and opening for the 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

Hayes Mansion, San Jose Ca. by Bob

The Hayes Mansion is a hotel resort in San Jose, California, United States. It was constructed originally as a mansion and has been referred to as one of the best examples of late 19th-century Mediterranean Revival architecture the Santa Clara Valley.[2] It is listed on the National Register of Historic Places.

Originally the residence of the sprawling estate of the Hayes family, the mansion replaced the family’s wooden English Baroque style house that burned to the ground during 1899. During 1903, architect George Page was commissioned to build, if not a fireproof structure, then one featuring the latest fire safety features of the day.

After the patriarch of the Hayes family, Anson Hayes, died, the family relocated from Wisconsin to California. Anson's widow, Mary, eventually remarried a San Jose attorney named Thomas Chynoweth. The new mansion was intended to provide a triple residence for Mary Chynoweth and the growing families of her two sons (Everis A. Hayes and Jay Orly Hayes), although Mary died during July of 1903 before the house was completed during November of the same year.

The 41,000-square-foot (3,800 m2) Mediterranean villa expresses the extravagance of an era during which the rich and prominent lived and entertained in a grand style. Exotic woods, imported marble and ornate stained glass windows decorate the rooms of a building designed in the shape of a Maltese Cross. A long center section containing an 18-foot (5.45 m) wide solarium connects the south wing with the north wing. A loggia connects the east wing with the west wing. Although it is not evident, the walls are double brick with stucco coating. As a result of the fire that destroyed the earlier home, the design of the Hayes Mansion included many fire-safety features. Throughout the house there are fire hose cabinets that connect to water tanks on the third floor. The kitchen was located in a separate building and connected to the mansion with a glass and marble plant conservatory.

Early during its history, the property operated in a completely self-sufficient manner, with its own power plant located on the grounds, as well as a post office, railroad station, carriage stop, lodgings for 40 ranch hands and even a chapel. The family also grew their own fruits and vegetables and raised their own livestock. In this idyllic setting, the Hayes brothers, Everis and Jay, raised their families, became prominent politicians, helped develop the Santa Clara Valley fruit industry and became the publishers of the newspaper San Jose Mercury. As evidence of their political influence, three U.S. Presidents have visited the mansion.

After the Hayes family sold the property during the 1950s, the building remained vacant for some time and then became dilapidated. Purchased by the City of San Jose during the 1990s, the property was renovated and expanded to its present state. The building now contains 33,000 square feet (3,100 m2) of meeting space and 214 guest rooms and is surrounded by a 20-acre (8.1 ha) park.

Julia at Entrance - The Shrine of Rememberance by Alpha

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The Shrine of Remembrance, Melbourne

(03) 9661 8100

St Kilda Rd

Melbourne VIC 3000

www.shrine.org.au/

- www.shrine.org.au - The Shrine of Remembrance is Victoria’s largest and most visited war memorial and is probably Melbourne’s most recognised landmark.

- Shrine of Remembrance By Norman Day, Architecture, The Age, October 20, 2003 - Where the original building is static, ordered, neo-classical, and a signature piece - organised like the military itself, proud and dignified in the way of brassy uniforms and polished boots - the new is gentle, undulating, disorientated and colourful. In the original, history was reiterated as the temple on the mound, just as the acropolis works in Greek history and the wat in Cambodia.

It was an old idea when it was built and it stays that way.

Norman Day is a practicing architect, adjunct professor of architecture (RMIT) and architect writer for The Age.

- www.thatsmelbourne.com.au/Placestogo/MelbourneLandmarks/H...

- www.visitmelbourne.com/displayObject.cfm/objectid.000DF2E...

Inch Abbey Co. Down by Stefan Lassus

Inch Abbey 'Mainistir na hInse' or in Ulster-Scots: Änch Abbey is a large, ruined monastic site near Downpatrick, County Down, on the north bank of the River Quoile in a hollow between two drumlins and featuring early Gothic architecture.

The site was originally on an island (Irish: Inis) in the Quoile Marshes. The pre-Norman Celtic monastic settlement here, known as Inis Cumhscraigh (or Inis Cuscraidh), was in existence by the year 800. In 1002 it was plundered by the Vikings led by Sitric, King of the Danes, who came up the Quoile with a fleet from the sea. The Vikings plundered the settlement again in 1149. Its large earthwork enclosure has been traced from aerial photographs. On the ground, the early bank and ditch can be followed along the line of trees on the eastern boundary of the site, and partly along the western boundary. The buildings of the early monastery would have been made of timber.

Inch Abbey was established as a Cistercian house by John de Courcy and his wife Affreca. Inch, or Iniscourcy, was erected as an act of repentance for the destruction of the Abbey at Erinagh (or Erenagh) by de Courcy in 1177. It was colonised directly by monks from Furness Abbey in Lancashire in 1180, along with some of the monks from Erinagh. The Cistercian monastery was located near to the river in the southern area of the Early Christian earthwork enclosure.

The Cistercian precinct was enclosed by a bank and ditch extending north and south from the parish graveyard to the river and east to west up the valley sides. The buildings are mainly of the late 12th century and the 13th century. The church was built about 1200, in the Cistercian cruciform plan with a low tower at the crossing, an aisled nave to the west and two projecting transepts each with a pair of chapels. Only the impressive east window remains. The chancel wall has three, well-proportioned, pointed windows, the middle one being 23 ft high. The chancel was 42 ft by 27 ft. There was an altar in each of the rib-vaulted transept chapels and in the north transept is a door out to the monk's cemetery and a tower with broken stairs in the north-west angle. On the stone plinth of the north transept's exterior north wall a number of incised symbols can be seen which are mason's marks. The high altar was under the east windows and in the south wall are the remains of a triple sedilia (seats for the priests) and a piscina for washing the altar vessels.

The community of monks was probably never very large, and this may have led to the decision to reduce the size of the church by walling off a smaller area to the east end. Some continuity was maintained with the 13th century work by reusing a fine door of that period as the west door of the reduced church. In the 15th century, when the monastic community was smaller, the church was altered. Through the walling in of the chancel and first bay of the nave, and blocking off the transepts, a much smaller church was created and the rest was abandoned. The cloister walks to the south have disappeared, but foundations of the east and south ranges remain, as well as outlying buildings toward the river. These include an infirmary and a bakehouse with two ovens and a well nearby.

Judged by medieval standards the abbey was wealthy. In 1380 Parliament tried to help waning English influence by restricting the membership of the Order at Inch to English or Anglicised Irish. Twenty-four years later, the abbey was burned and that, perhaps together with the collapse of a central tower and a dwindling community, gave the impetus to alter the size of the church. Monastic life continued, most likely on a small scale, until the 16th century, but the Abbey had been dissolved by 1541, when the abbey with about 850 acres of land was granted to Gerald, Earl of Kildare, along with other monasteries.

Inch Abbey Downpatrick, was the setting where Rob Stark was crowned King of the North, in the TV series Game of Thrones.

Palace Tower, Palenque by Aidan McRae Thomson

The ancient Mayan city of Palenque is one of the World's greatest archaeological sites, a stunning testament to the skill of the Maya in art and architecture.

The city flourished between 226BC and 1123AD, after which time it was abandoned and was engulfed by the surrounding jungle, and all but disappeared for centuries. The greatest monuments of the city were released from their foliate covering in the late 19th century, but it is estimated that little more than 10% of the overall site has been cleared and properly excavated, and numerous other smaller structures remain choked in the wilderness beyond.

The main features of the cleared site are the towering temples, consisting of shrines built atop huge pyramid-like stepped terraces, most of which can still be ascended and explored by visitors (except for the particularly fine Temple of the Inscriptions).

At the heart of the complex is the huge ruined Palace, again raised on terraces and crowned by a distinctive tower, (looking as much like a colonial church bell-tower than a ancient Mayan structure). The pillars and corridors of the upper levels are adorned by fragments of the original stucco relief decoration, reminding us that what appears now as great swathes of rubble wall was originally covered by wonderfully complex sculptural decoration, all originally brightly painted, which must have been spectacular and dazzlingly coloured. We should always bare in mind that however structurally complete such ancient temples might appear, their original magnificence is a further spectacle still that we can only imagine.

The unforgettable ruins of Palenque and their stunning natural setting are one of the real highlights of a visit to Mexico, and should not be missed.

en.wikipedia.org/wiki/Palenque

Palace of Fine Arts by #KPbIM

It was designed by Bernard Maybeck, who took his inspiration from Roman and Greek architecture. The sculptured frieze and allegorical figures representing Contemplation, Wonderment and Meditation were created by Ulric Ellerhusen. It was one of only three buildings from the exposition not to be demolished (the others being the Japanese Tea House, not to be confused with the Japanese Tea House that remains in Golden Gate Park, which dates from an 1894 fair, the other is what is now known as the Bill Graham Civic Auditorium ). In the 1960s it was entirely refurbished to ensure its longevity. The exhibition hall, which originally housed Impressionist paintings during the exposition, is now home to the Exploratorium, a state of the art interactive science museum. There is also a replica of the Palace of Fine Arts in Disney's California Adventure in Anaheim, as part of the exterior of the former Golden Dreams attraction and will be incorporated in the replacement attraction, The Little Mermaid, Ariel's Undersea Adventure.

The Palace of Fine Arts has been a favorite wedding location for couples throughout the San Francisco Bay Area. A renovation restoring the interior of the dome, the walkways around the Palace and a seismic retrofit was completed in early 2009. The lagoon was intended to echo those found in classical settings in Europe, where the expanse of water provides a mirror surface to reflect the grand buildings and an undisturbed vista to appreciate them from a distance. Australian eucalyptus trees fringe the eastern shores. Many forms of wildlife have made their home there including swans, ducks (particularly migrating fowl), geese, turtles, frogs, and raccoons.

Katsura Imperial Villa. Kyoto, Japan. DSC06070 by Bercy Chen Studio LP

The Katsura Imperial Villa (桂離宮 Katsura Rikyū), or Katsura Detached Palace, is a villa with associated gardens and outbuildings in the western suburbs of Kyoto, Japan (in Nishikyō-ku, separate from the Kyoto Imperial Palace). It is one of Japan's most important large-scale cultural treasures.

Its gardens are a masterpiece of Japanese gardening, and the buildings are even more important, one of the greatest achievements of Japanese architecture. The palace includes a shoin ("drawing room"), tea houses, and a strolling garden. It provides an invaluable window into the villas of princes of the Edo period.

The palace formerly belonged to the princes of the Hachijō-no-miya (八条宮) family. The Imperial Household Agency administers it, and accepts visitors by appointment.

History

The Katsura district of Kyoto has long been favored for villas, and in the Heian period, Fujiwara no Michinaga had a villa there. The members of the Heian court found it an elegant location for viewing the moon.

Prince Hachijō Toshihito (智仁; 1579–1629), the first of the Hachijō-no-miya line, established the villa at Katsura. The prince was a descendant of Emperor Ogimachi, and younger brother of Emperor Go-Yozei. Once adopted by Toyotomi Hideyoshi, he cancelled the adoption when Hideyoshi had a son, and founded the Hachijō-no-miya house.

The shoin of Katsura Imperial Villa is divided into three parts: the Old Shoin, the Middle Shoin, and the New Palace. The Old Shoin was built in around 1616.[1] The construction of the shoin, teahouse and garden continued in the time of the second prince, Toshitada (智忠; 1619–1662), and reached completion after some decades.

The Hachijō-no-miya house changed its name to Tokiwai-no-miya (常磐井宮), Kyōgoku-no-miya (京極宮), and finally Katsura-no-miya (桂宮), before the line died out in 1881.

The Imperial Household Ministry took control of the Katsura Detached Palace in 1883, and since World War II, the Imperial Household Agency has been in control.

Katsura Imperial Villa in spring

The Old Shoin, Middle Shoin and New Palace are each in the shoin style, with irimoya kokerabuki (柿葺) roofs. The Old Shoin shows elements of the sukiya style in places like the veranda. A space called the moon-viewing platform protrudes even farther from the veranda, and shows that the main theme of Katsura Detached Palace was moon-viewing.

The walls of the Middle Shoin and New Palace have ink-paintings by the school of Kanō Tan'yū (狩野探幽). The shelving in the upper room of the New Palace is considered especially noteworthy.

The strolling garden takes water from the Katsura River for the central pond, around which are the Shōkintei (松琴亭), Shōkatei (賞花亭), Shōiken (笑意軒), and Gepparō (月波楼); tea houses, hill, sand, bridge, and lanterns. There is also a Buddhist hall, Onrindō (園林堂).

Arabian architecture at the Falcon Centre by shimmertje

Arabian architecture. The Falcon Centre is near the racecourse. It sells birds and stocks equipment for falconry, and is practically the only place where you will actually see Emiratis (ok, male Emiratis) in fairly large numbers.

Cape Town - Houses of Parliament. And the Fire. by pepandtim

The Postcard

A Phototype Series postcard that was published by Valentine's (S.A.) Ltd. of Cape Town. The card, which was printed in Great Britain, has a divided back.

Houses of Parliament, Cape Town

The Houses of Parliament of South Africa are situated in Cape Town. The building consists of three main sections: the original building, completed in 1884, and additions constructed in the 1920's and 1980's.

The newer additions house the National Assembly (the lower house of the bicameral Parliament of South Africa), and the original building houses the National Council of Provinces (the upper house of Parliament).

The original parliament building was designed in a Neoclassical style, incorporating features of Cape Dutch architecture. The later additions have been so designed as to blend with the original building.

The Houses of Parliament have been declared a National Heritage Site and given Grade 1 national heritage status, the highest grade.

Parliament House was severely damaged by a large fire that broke out in 2022.

History of the Building

Queen Victoria granted permission for the establishment of a parliament in the Cape Colony in 1853. The first sittings were held in the Governor's residence, the Tuynhuys, after which sittings were held in the Goede Hoop Masonic Lodge. This building was used by the South African Freemasons.

The then upper house was housed in the old supreme court building, which itself had been the slave lodge under VOC rule.

The Design and Construction of the Parliament Building

MPs noted that the masonic lodge building was unimposing, and did not command any respect.

Although opposed by Prime Minister John Charles Molteno due to financial considerations, a committee was set up to receive designs for a new parliament building. The committee selected an elaborate design by architect Charles Freeman, and construction began on the 12th. May 1875, with the then Governor of the Cape Colony, Henry Barkly, laying the cornerstone.

Almost immediately it was discovered that Freeman's plans were faulty. Freeman's errors were compounded by the presence of groundwater, and a recalculation of the budget revealed that the actual costs would be many times the original figure that the government had allowed for.

Freeman was fired, and Henry Greaves was appointed architect in 1876. Freeman's plans were altered to exclude seemingly unnecessarily expensive features such as a central dome, statues, parapets and fountains.

Building re-commenced, but was delayed – this time by the British overthrow of the Cape government in 1878, the ensuing Confederation Wars, and finally by the building company going bankrupt in 1883.

Greaves tenaciously completed the job however, and the large, stately, but relatively unpretentious building was finally opened in 1884.

Cape Prime Minister Thomas Scanlen, and British Governor Henry Robinson led the opening ceremony in the building, declared finally to be worthy of the country's Legislature.

Later Additions

In the 1920's, Parliament commissioned Sir Herbert Baker to build an extension to the building, including a new chamber for the House of Assembly.

The old Assembly chamber became the Parliamentary Dining Room, run by the catering department of South African Railways & Harbours.

A further extension was created in the 1980's, when the 1910 constitution was replaced with the awkward and novel tricameral constitution which provided a parliamentary house each for Whites, Coloureds, and Indians.

Further constitutional changes moved the centre of power away from the old building and towards the newer wing.

The 2022 Fire

During the morning of the 2nd. January 2022, a fire broke out in third-floor offices in the parliamentary precinct, and spread to the lower and upper houses.

More than 35 firefighters initially attended. By mid-morning, fire crews were still attempting to control the fire which severely damaged the building. It was reported that the sprinkler system had not functioned correctly, and protection services staff were not on duty.

Police confirmed that a 49-year old man had been detained for questioning. He was subsequently arrested by the Hawks Priority Crime unit.

He was charged with arson, housebreaking and theft under the National Key Points Act, and appeared in court on the 4th. January 1922.

Identified by the New York Times as Zandile Christmas Mafe aged 49, the suspect's sanity was questioned by prosecutors. The Times went on to report:

"Mr. Mafe was committed to a psychiatric hospital

on Tuesday to determine whether he is fit to stand

trial on terrorism and other charges."

India - Maharashtra - Ellora Caves - Kailasa Temple - 38 by Manfred Sommer

The Kailasa (Sanskrit: Kailāsanātha) temple is one of the largest rock-cut ancient Hindu temples located in Ellora, Maharashtra, India. It was built in the 8th century by the Rashtrakuta king Krishna I as attested in Kannada inscriptions. This is one of the 34 temples and monasteries known collectively as the Ellora Caves. These extend over more than 2 km, were dug side by side in the wall of a high basalt cliff in the complex located at Ellora. The Kailasa (cave 16) is a remarkable example of Dravidian architecture on account of its striking proportion, elaborate workmanship, architectural content, and sculptural ornamentation of rock-cut architecture. The temple was commissioned and completed between 757-783 CE, when Krishna I ruled the Rashtrakuta dynasty. It is designed to recall Mount Kailash, the home of Lord Shiva. It is a megalith carved out of one single rock.

METHOD OF CONSTRUCTION

The Kailasa Temple is notable for its vertical excavation - carvers started at the top of the original rock, and excavated downward. The traditional methods were rigidly followed by the master architect which could not have been achieved by excavating from the front. It is estimated that about 400,000 tons of rocks were scooped out over hundreds of years to construct this monolithic structure. From the chisel marks on walls of this temple, archeologists could conclude that three types of chisels were used to carve this temple.

ARCHITECTURE

All the carvings are at more than one level. A two-storeyed gateway opens to reveal a U-shaped courtyard. The courtyard is edged by a columned arcade three stories high. The arcades are punctuated by huge sculpted panels, and alcoves containing enormous sculptures of a variety of deities. Originally flying bridges of stone connected these galleries to central temple structures, but these have fallen.

Within the courtyard are two structures. As is traditional in Shiva temples, an image of the sacred bull Nandi fronts the central temple housing the lingam. In Cave 16, the Nandi Mandapa and main Shiva temple are each about 7 metres high, and built on two storeys. The lower stories of the Nandi Mandapa are both solid structures, decorated with elaborate illustrative carvings. The base of the temple has been carved to suggest that elephants are holding the structure aloft.

A rock bridge connects the Nandi Mandapa to the porch of the temple. The structure itself is a tall pyramidic South Indian temple. The shrine – complete with pillars, windows, inner and outer rooms, gathering halls, and an enormous stone lingam at its heart – is carved with niches, plasters, windows as well as images of deities, mithunas (erotic male and female figures) and other figures. Most of the deities at the left of the entrance are Shaivaite (followers of Lord Shiva) while on the right hand side the deities are Vaishnavaites (followers of Lord Vishnu).

There are two Dhwajasthambha (pillars with flagstaff) in the courtyard. The grand sculpture of Ravana attempting to lift Mount Kailasa, with his full might is a landmark in Indian art.

WIKIPEDIA

Dharasuram Sri Airavateshwarar temple by Mahesh Ramesh

3 2

A HDR of the temple, which is the best example of Chozha period architecture.. The priest told us that this temple was dedicated for Classical dance.

Temple of the Cross, Palenque by Aidan McRae Thomson

The ancient Mayan city of Palenque is one of the World's greatest archaeological sites, a stunning testament to the skill of the Maya in art and architecture.

The city flourished between 226BC and 1123AD, after which time it was abandoned and was engulfed by the surrounding jungle, and all but disappeared for centuries. The greatest monuments of the city were released from their foliate covering in the late 19th century, but it is estimated that little more than 10% of the overall site has been cleared and properly excavated, and numerous other smaller structures remain choked in the wilderness beyond.

The main features of the cleared site are the towering temples, consisting of shrines built atop huge pyramid-like stepped terraces, most of which can still be ascended and explored by visitors (except for the particularly fine Temple of the Inscriptions).

At the heart of the complex is the huge ruined Palace, again raised on terraces and crowned by a distinctive tower, (looking as much like a colonial church bell-tower than a ancient Mayan structure). The pillars and corridors of the upper levels are adorned by fragments of the original stucco relief decoration, reminding us that what appears now as great swathes of rubble wall was originally covered by wonderfully complex sculptural decoration, all originally brightly painted, which must have been spectacular and dazzlingly coloured. We should always bare in mind that however structurally complete such ancient temples might appear, their original magnificence is a further spectacle still that we can only imagine.

The unforgettable ruins of Palenque and their stunning natural setting are one of the real highlights of a visit to Mexico, and should not be missed.

en.wikipedia.org/wiki/Palenque

Alesund's Architecture by Ralph Grizzle

Alesund's distinctive architecture. The town was razed in 1904 and rebuilt in stone, brick and mortar in the Jugendstil (Art Nouveau style).

Church of the Epiphany by National Register of Historic Places

Listed in the National Register of Historic Places in 2019, the Church of the Epiphany was constructed in 1888. The church is the site of an important local movement center in the Chicano Civil Rights Movement. The church was the site of organization for the Latinx community of East Los Angeles during a time when Latinx mobilized to demand full civic and political inclusion. Under the guidance of Reverend John B. Luce, the church became a center for cultural heritage preservation, reflecting the intersection of religion and activism associated with the use of religion and non-violence to promote Chicano civil rights during the 1960s and 1970s. Architecturally the church is an excellent and intact example of the ecclesiastical architecture of Ernest A. Coxhead and Arthur B. Benton for the Episcopal Archdiocese of Los Angeles.

The first period of significance for the church is from 1888 to 1920, and encompasses construction, significant additions, and the installation of the organ and all parishioner-donated stained-glass windows. The second period of significance spans from 1965 to 1972, representing the tenure of Father John Luce as rector and the major milestones of the Chicano Civil Rights Movement. The church is also recognized as the Los Angeles base for Cesar Chavez and the United Farm Workers; the location of organizational efforts for the Blowouts, the Chicano Moratorium, the Brown Berets, and Latinx support for the election of Robert F. Kennedy; and the location of the founding of the community newspaper La Raza. Overall, the Church of the Epiphany has exceptional social history in the work and lives of the California Hispanic community. The Church of the Epiphany is a rare, extant example of a building associated with the support of Latino activism and civil rights during the mid to late twentieth century.

Los Angeles, California

Listed 2020

Reference Number: 100004857

Listed in the National Register of Historic Places in 2019, the Church of the Epiphany was constructed in 1888. The church is the site of an important local movement center in the Chicano Civil Rights Movement. The church was the site of organization for the Latinx community of East Los Angeles during a time when Latinx mobilized to demand full civic and political inclusion. Under the guidance of Reverend John B. Luce, the church became a center for cultural heritage preservation, reflecting the intersection of religion and activism associated with the use of religion and non-violence to promote Chicano civil rights during the 1960s and 1970s. Architecturally the church is an excellent and intact example of the ecclesiastical architecture of Ernest A. Coxhead and Arthur B. Benton for the Episcopal Archdiocese of Los Angeles.

The first period of significance for the church is from 1888 to 1920, and encompasses construction, significant additions, and the installation of the organ and all parishioner-donated stained-glass windows. The second period of significance spans from 1965 to 1972, representing the tenure of Father John Luce as rector and the major milestones of the Chicano Civil Rights Movement. The church is also recognized as the Los Angeles base for Cesar Chavez and the United Farm Workers; the location of organizational efforts for the Blowouts, the Chicano Moratorium, the Brown Berets, and Latinx support for the election of Robert F. Kennedy; and the location of the founding of the community newspaper La Raza. Overall, the Church of the Epiphany has exceptional social history in the work and lives of the California Hispanic community. The Church of the Epiphany is a rare, extant example of a building associated with the support of Latino activism and civil rights during the mid to late twentieth century.

National Register of Historic Places Homepage

Church of the Epiphany

National Register of Historic Places on Facebook

India - Tamil Nadu - Mamallapuram - Five Rathas - 52 by Manfred Sommer

Pancha Rathas (also known as Pandava Rathas) is a monument complex at Mahabalipuram, on the Coromandel Coast of the Bay of Bengal, in the Kancheepuram district of the state of Tamil Nadu, India. Pancha Rathas is an example of monolithic Indian rock-cut architecture. Dating from the late 7th century, it is attributed to the reign of King Mahendravarman I and his son Narasimhavarman I (630–680 AD; also called Mamalla, or "great warrior") of the Pallava Kingdom. An innovation of Narasimhavarman, the structures are without any precedent in Indian architecture. The complex is under the auspices of the Archaeological Survey of India (ASI) and is part of the UNESCO World Heritage site inscribed by UNESCO as Group of Monuments at Mahabalipuram.

Each of the five monuments in the Pancha Rathas complex resembles a chariot (ratha), and each is carved over a single, long stone or monolith, of granite which slopes in north-south direction with a slight incline. Though sometimes mistakenly referred to as temples, the structures were never consecrated because they were never completed following the death of Narasimhavarman I. The structures are named after the Pancha Pandavas and their common wife Draupadi, of epic Mahabharata fame. In order of their size, they include the Dharmaraja Ratha, Bhima Ratha, Arjuna Ratha, Nakula Sahadeva Ratha, and Draupadi Ratha.

ETYMOLOGY

The monoliths are named after the Pandavas – Arjuna, Bhima, Yudhishthira ("Dharmaraja"), Nakula and Sahadeva – and Draupadi. These names are considered to be a misrepresentation as the structures have no link to the iconic characters of the Mahabharata epic. They have no religious significance either, as they remained unfinished and unconsecrated; the uncut rock parts at the base and top of the rathas are still visible. The ASI confirmed the unfinished nature of the structures and suggested that they instead be referred to as vimanas. However, the Pandava names have become permanent.

HISTORY

According to a plaque displayed at the site by the ASI, the Pallava dynasty had planned the structures as models of chariots in rock based on prototypes of ancient rathas built in wood. The Pancha Rathas were carved during the reign of King Mahendravarman I and his son Narasimhavarman I. Work on these five rathas was discontinued following the death of Narasimha Varman in 668 AD. The purpose of their construction is not known as the structures were not completed. Part of the collection within the Group of Monuments at Mahabalipuram, they were classified as a UNESCO World Heritage Site in 1984.

GEOGRAPHY

The site is located at Mahabalipuram (previously known as Mammallapuram), on the Coromandel Coast of the Bay of Bengal, in Kancheepuram district. It is approximately 56 km south of Chennai (previously known as Madras), the capital city, while Chengalpattu is about 32 km distant. The structures are part of the nine monolithic rock cut structures seen here.

ARCHITECTURE

LAYOUT

Each of the five rathas is a monolith, carved whole from a rock outcropping of pink granite. They are carved over a common mounted plinth which is north-south oriented with a slight slope. Each has a different layout, such as square, rectangular, or apsidal plans. The largest measures 13×11 m, and the tallest is 12 m high.

REPRESENTATIONS

The Pancha rathas represent the diversity of Dravidian architecture of the time and it is likely that their original design traces back to wood constructions of temple chariots and were scale models or templates for much bigger temples built subsequently in Tamil Nadu. Most of the rathas are stated to be modelled on the Buddhist Viharas and Chaityas.

DESIGN

The structural design and elevation are with towers or domes with single (ekathala) to triple (trithala) towers, which present a unique exhibition of South Indian Dravidian architecture. The chiseling done by the stone sculptors are occasional along joints between the stones. The walls are arranged and sequentially partitioned. The projections and recesses in these walls give the appearance of a set of shallow pilasters. The niches created in the walls are of rectangular shape and have carved sculptures of gods, demi-gods and the kings. The skirting around the images are of wild aquatic animals with “foliated tails and open jaws.” The wall pilasters have curved brackets, and columns on the porch provide support to an overhanging eave; arch windows occasionally carved with images are located above them. The mouldings culminate in parapets. The carvings above the eave overhangs are decorated roof forms in miniature size, which are seen in rows all round each of the structure.

PRESERVATION

The rathas have been preserved well on account of the sturdiness of their material, granite, and in spite of constant salty winds from the Bay of Bengal and catastrophic tsunamis in 13th century and in 2004.

NOTABLE LANDMARKS

The architectural elegance of the Dharmaraja Ratha is its pyramidal structure which rises in three steps. It is built with a square layout. Its composition has been accentuated with carvings of Hindu gods Harihara, Brahma, Skanda, Ardhanarishvara and King Narasimhavarman I. One of the distinctive carvings seen on the eastern face of the rahta is of Indra (a demi-god of rain and thunderstorms), seated on his mount Airavata (meaning: "a White Elephant"). There is also an independent monolithic stone sculpture of Nandi, adjoining this ratha in the open space. The next in order is the Arjuna Ratha, which is well decorated with an elegant façade and is akin to the Dharmaraja Ratha. Next in line is the Bhima Ratha built to a rectangular plan and with lion mounted columned (four columns) galleries on both long sides. The Nakula Sahadeva Ratha is the next in line. It is built to a simple plan with no embellishing carvings in its apses. A stone monolithic sculpture of an elephant is fixed in the open space, next to this ratha. The Draupadi Ratha, which is the last in the line, is a square structure, which resembles a village hut with thatch roof. The fresco inside this shrine is of mother goddess Durga.

WIKIPEDIA

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