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Mother of God Church (Landstraße)
Mother of God Church
The Mother of God Church is a Roman Catholic church building in the 3rd Viennese district highway (Landstraße). It is dedicated to the three times miraculous Mother of God.
Location and architecture
The Mother of God Church is located at the Jacquingasse 12 in Fasanviertel, part of the district Landstraße. The neo-Romanesque brick shell is the work of architect Richard Jordan. The church is part of the at the same time built and also planned by Jordan convent of the Congregation of the Daughters of Divine Love, the mother house of this religious community.
There are two polygonal spiers at the roadside facade of the church. The nave has three aisles and presents a groined vault. On the neo-Romanesque high altar is one of Josef Kastner the Elder created copy of the image Thrice Miraculous Mother of God from the church of Santa Maria Maggiore in Rome. Josef Kastner the Younger painted the altar pictures on the side altars as well as the murals on the arcades of the nave and the choir. The organ from 1884 is a work from the company Johann M. Kauffmann.
History
In 1868 Franziska Lechner founded in Vienna the Congregation of the Daughters of Divine Love. The first mother house, which was inhabited in 1871, was located at the Pheasant Lane (Fasangasse) 4 near the present monastery. Through the mediation of Archduchess Marie Valerie of Austria, the congregation received a part of the Botanical Garden of the University of Vienna to build a church. The construction of the Mother of God Church and the new monastery was started in 1890. For the constructive execution of the plans of Richard Jordan was Josef Schmalzhofer responsible. On 22 April 1891 the church was consecrated. The high altar was donated by Emperor Franz Joseph I.
In 1939, the monastery church was elevated to the status of parish church. The parish at the Mother of God Church is now one of seven parishes in the city deanery 3. End of the Second World War, the Mother of God church was damaged. The restoration lasted until 1964. An interior renovation took place in 1977/78, another renovation of the church building in 1991. In 2005, the Mother of God Church received two new bells, which are dedicated to the Saints Frances of Rome and Paul of Tarsus.
1987-1998 was Kurt Knotzinger pastor of the Mother of God Church .
de.wikipedia.org/wiki/Muttergotteskirche_(Landstra%C3%9Fe)
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
The Tower Grove East neighborhood is eligible for listing in the National Register of Historic Places under Criterion C for architecture. The neighborhood is locally significant for the quality and diversity of its architectural components and for their embodiment of an intact collection of forms, styles, and methods of construction previously recognized as significant under the Multiple Property Documentation Form (MPDF) "South St. Louis Historic Working- and Middle-Class Streetcar Suburbs. " The nomination is submitted using this MPDF under the subcontext: "Architectural Patterns of South St. Louis Streetcar Suburbs: 1880-1940." Because of architecturally significant outlier properties that both predate, and post-date the period covered by the MPDF, the period of significance for contributing resources in the District has been expanded to between c.1850 and 1946. The neighborhood is a remarkably intact collection of residential, commercial, religious and educational resources that collectively form a district of superior architectural quality and integrity. Surrounded on all sides by existing (and pending) National Register Districts and Certified Local Historic Districts, the Tower Grove East District contains a collection of historic architectural resources that possess integrity of design, materials, setting, and craftsmanship. Its listing in the National Register of Historic Places will make a significant contribution to the already-recognized catalogue of high-merit architectural resources surrounding Tower Grove Park, a National Historic Landmark (NHL 12/20/89).
National Register of Historic Places Homepage
Built in 1907 at no. 212 New Street.
"Beaufort (/ˈbjuːfərt/ BEW-fert, a different pronunciation from that used by the city with the same name in North Carolina) is a city in and the county seat of Beaufort County, South Carolina, United States. Chartered in 1711, it is the second-oldest city in South Carolina, behind Charleston. The city's population was 12,361 in the 2010 census. It is a primary city within the Hilton Head Island-Bluffton-Beaufort, SC Metropolitan Statistical Area.
Beaufort is located on Port Royal Island, in the heart of the Sea Islands and South Carolina Lowcountry. The city is renowned for its scenic location and for maintaining a historic character by preservation of its antebellum architecture. The prominent role of Beaufort and the surrounding Sea Islands during the Reconstruction era after the U.S. Civil War is memorialized by the Reconstruction Era National Monument, established in 2017. The city is also known for its military establishments, being located in close proximity to Parris Island and a U.S. naval hospital, in addition to being home of the Marine Corps Air Station Beaufort.
The city has been featured in the New York Times, and named "Best Small Southern Town" by Southern Living, a "Top 25 Small City Arts Destination" by American Style, and a "Top 50 Adventure Town" by National Geographic Adventure." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Baltimore Independent City, MD
Listed: 12/29/2004
The Hampden Historic District is significant under Criterion A for its association with the industrial development of the Jones Falls Valley, which was the center of Baltimore's important textile industry throughout the nineteenth century. In 1899 this relatively small geographical area produced more cotton duck than the combined output of any other milling centers in the United States. The district offers a largely intact picture of the development of a self-sufficient working class community, based upon a single major industry, which flourished for nearly a century. The district derives additional significance under Criterion C for its architecture, comprising a broad range of vernacular, working-class housing including an exceptional collection of early company-built workers' housing (for various job levels) dating from the late 1830s into the 1880s. Operating at their peak in the 1890s, the Hampden and Woodberry mills boasted some 4,000 employees. By that time company-built housing could no longer provide for the community's needs, and a host of local builders and investors saw an opportunity to develop the area above the mill villages with owner-occupied houses whose designs continued traditions established in the rural mill town, while filtering national stylistic influences through contemporary Baltimore rowhouse forms.
The first mill buildings and their related housing and settings clearly partook of the romantic, naturalistic ideals of the era. Mill owners acted out the idea of a paternalistic class by providing decent, affordable, and healthy housing for their workers and helped create a community made up of neat houses in their gardens, surrounded by rural lanes, open meadows, company-funded churches, and a company-provided school, all within walking distance of the mills. Company housing took forms created by local builders with some knowledge of various designs and design types published in both local and national pattern books of the 1840s and 1850s. Also, within walking distance were the estates of the mill owners-fashionable Greek Revival, Italianate, and Second Empire homes, surrounded by vast acres of lawns and showy gardens, thus adding to the picturesqueness of the whole and setting stylistic parameters. Despite the intrusions of modem times, much of this early mill village landscape still exists. Groups of houses perched on high hills overlooking the mills and now surrounded by trees still boast the original narrow lanes and roadways winding down the hill, that mill hands took as they left each morning for work, or used to reach the church on Sunday.
By the later 1870s, with the rapid expansion of the mills, a variety of local builders and investors took over the job of supplying reasonably priced, practical, yet still stylish homes for the always growing number of mill workers. Several different building associations were formed to aid workers in acquiring homes as well as provide financing for construction. And just as the first clusters of company housing were grouped around their respective owner's mills, so too did the housing built in the 1870s and 1880s tend to be located to meet the needs of particular mills. It was not really until the late 1890s that the blocks of Hampden located to the east of Falls Road began to fill up and that the commercial center of town, along W. 36th Street, began to take on an urban aspect. From this point on the development of Hampden followed urban models and was influenced by the stylistic forms of Baltimore city architecture. The textile mills remained the main economic force in the area, and the early 20th century development of Hampden reflects the prosperity of that industry through the World War I era to the Depression, and its recovery in the early 1940s supported by the wartime demand for cotton fabric.
The period of significance, 1837-1945, spans the period during which the Jones Falls Valley textile industry was the principal influence on the district's growth and development. After World War II, textile manufacturers began moving their operations to the Southern states, and the community ceased growing.
Sthalasayana Perumal Temple is at Mahabalipuram. 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 of the 108 Divyadesam dedicated to Vishnu, who is worshipped as Sthalasayana Perumal and his consort Lakshmi as Nilamangai Thayar. The temple is believed to have been built by Pallavas, with later contributions from Medieval Cholas, Vijayanagar kings and Madurai Nayaks.
The temple is believed to be the birthplace of the Vaishnava Azhwar saint Bhoothathalvar. Sthalasayana Perumal is believed to have appeared to sage Pundarika. The temple is open from 6 am to 12 pm and 3pm to 8:30 pm and Six daily rituals and a dozen yearly festivals are held at the temple, of which the Bhoothatazhwar Avata festival, celebrated during the Tamil month of Aipasi (October–November) being the most prominent. The temple is one of the 32 Group of Monuments at Mahabalipuram that are declared as UN world heritage sites, but unlike others that are maintained by the Archaeological Survey of India, the temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu.
LEGEND
As per Hindu legend, once sage Pundarika was performing penance worshipping Vishnu at this place. He collected Tamarasa flowers and submitted it to view Vishnu in Ksirabdhi Natha form, his posture in Tirupaarkadal. He collected 1,008 flowers and in his intensity, he scooped out water also in full. Vishnu came in disguise in the form of sage and asked him for food. The sage went to acquire food for the old man, but while returning he found that Vishnu remained in the place. Since Vishnu stayed in this place, he was called Sthalasayana Perumal. The legend is sanctified by Bhoothatazhwar in his verses in Nalayira Divya Prabandham.
THE TEMPLE
The temple stands on the shore and it was built along with the other sculptures. It is a small temple with two major Shrines for Lord Sthalasayana Perumal and Nilamangai Thayaar. This is believed to be the birthplace of Bhoothathazhwar, the 2nd Azhwar. There is also a separate shrine for Lord Narasimha. The architecture depicts the pallava style. This shrine was built by Pallava kings. Bhoothathazhwar was found in a tank that is opposite to the temple. The place is also famous for its Adivaraha shrine near the seashore, where the Lord is known as "Valavendai Gnanapiran" or the Lord having His Consort on His right side unlike other places with His Consort on the left side like the nearby Thiruvidaventhai divyadesam. It is believed that there were originally seven temples built in the place, out of which only one is remaining. The festival deity is sported with a lotus bud in the hand, while the presiding deity is seen displaying Jnana Mudra. During the 14th century, the Vijayanagar king Parankusa shifted the temple to its current location away from the shore. He is believed to have built the four Mada streets around the temple. The temple also had expansions by Chola king Vikrama Chola (1118-35 CE) during 1120 CE.
FESTIVALS AND RELIGIOUS PRACTICES
The temple priests perform the pooja (rituals) during festivals and on a daily basis. As at 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 a.m., Kalasanthi at 8:00 a.m., Uchikalam at 12:00 p.m., Sayarakshai at 6:00 p.m., Irandamkalam at 7:00 p.m. and Ardha Jamam at 10:00 p.m. Each ritual has three steps: alangaram (decoration), neivethanam (food offering) and deepa aradanai (waving of lamps) for both Sthalasayana Perumal and Nilamangai Thayar. During the last step of worship, nagaswaram (pipe instrument) and tavil (percussion instrument) are played, 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.
Puliyodharai (Tamarind Rice), Dhadhyonam (Curd Rice), Pongal, Chakkarai Pongal, Vada, Adhirasam, Murukku are offered to Lord as Prasadam. Maasi Makham is an important festival. The Uthsava idol in the temple, known as "Ulaguyya Nindra Piran" along with His Consorts, and those of Valavendai Gnanapiran or Adivaraha and Sri Rama from nearby Padavedu temple, will be taken in procession to the seashore at Mahabalipuram where special Poojas will be performed and "Theerthavari" are offered. Bhoothatalwar's Avathara Utsavam is also an important festival.
Bhoothathazhwar Avata Utsavam, the birth anniversary of Bhoothatazhwar is celebrated every year during the Tamil month of Aipasi (October - November). At around 10 am on the festival day, the festival image of the Azhwar is brought in a palanquin to the shrine of Nilamangai Thayar and then to Stalasayana Perumal. After recital of Periyathirumozhi of Thirumangai Azhwar, Kaithala Seva, a practise of providing a special gift to Bhoothathazhwar is performed. Bhootathazhwar also makes a trip to the Cave temple of Mahabalipuram. During the evening, the festival images of the presiding deity of Stalasayana Perumal and Bhoothatazhwar is taken around the streets of the temple.
RELIGIOUS SIGNIFICANCE
The temple is revered in Nalayira Divya Prabandham, the 7th–9th century Vaishnava canon, by Thirumangai Azhwar and Bhoothathazhwar in one hymn each. The temple is classified as a Divyadesam, one of the 108 Vishnu temples that are mentioned in the book. Thirumangai Azhwar considers the reclining form of Vishnu special as it is the only place where he reclines in ground without his traditional snake Adiseshan.
ADMINISTRATION
The temple is one of the 32 Group of Monuments at Mahabalipuram that are declared as UN world heritage sites, but unlike others that are maintained by the Archaeological Survey of India (ASI), the temple is maintained and administered by the Hindu Religious and Endowment Board of the Government of Tamil Nadu. ASI had a proposal to bring the maintenance of the temple under its jurisdiction in July 2012. Following widespread protest by locals and shopkeepers the proposal was dropped by the central ministry of Culture in September 2013.
WIKIPEDIA
The Tower Grove East neighborhood is eligible for listing in the National Register of Historic Places under Criterion C for architecture. The neighborhood is locally significant for the quality and diversity of its architectural components and for their embodiment of an intact collection of forms, styles, and methods of construction previously recognized as significant under the Multiple Property Documentation Form (MPDF) "South St. Louis Historic Working- and Middle-Class Streetcar Suburbs. " The nomination is submitted using this MPDF under the subcontext: "Architectural Patterns of South St. Louis Streetcar Suburbs: 1880-1940." Because of architecturally significant outlier properties that both predate, and post-date the period covered by the MPDF, the period of significance for contributing resources in the District has been expanded to between c.1850 and 1946. The neighborhood is a remarkably intact collection of residential, commercial, religious and educational resources that collectively form a district of superior architectural quality and integrity. Surrounded on all sides by existing (and pending) National Register Districts and Certified Local Historic Districts, the Tower Grove East District contains a collection of historic architectural resources that possess integrity of design, materials, setting, and craftsmanship. Its listing in the National Register of Historic Places will make a significant contribution to the already-recognized catalogue of high-merit architectural resources surrounding Tower Grove Park, a National Historic Landmark (NHL 12/20/89).
National Register of Historic Places Homepage
Sant'Ivo alla Sapienza (lit. 'Saint Ivo at the Sapienza (University of Rome)') is a Roman Catholic church in Rome. Built in 1642–1660 by the architect Francesco Borromini, the church is widely regarded a masterpiece of Roman Baroque architecture.
The church is at the rear of a courtyard at 40, Corso del Rinascimento; the complex is now used by the State Archives of Rome.
The lantern is famous for its curious helter-skelter spire, which ends in a wreath topped with flames. It is capped with four interlocking bronze hoops supporting a sphere. On top of the sphere is a dove bearing an olive branch in its beak and a cross embellished with three fleurs-de-lys. Such a dove and three fleurs-de-lys appear on the coat of arms of the Pamphilj family, of which Pope Innocent X (r. 1644-55) was a member.
Sant' Ivo alla Sapienza was consecrated on November 14th 1660 by Pope Alexander VII. It is dedicated to St Ivo of Kermatin (1253-1303), a Breton priest, who is the patron saint of Brittany, lawyers and abandoned children. Also known as St Ives, his feast day is May 19th. St Ivo is referred to as the 'Advocate of the Poor'.
Lotus Mahal is a two storied very symmetric structure exhibiting a fine example of Indo-Islamic architecture. The base of the structure depicts a Hindu foundation of stone just like in the temples, typical of Vijayanagara Architecture while the upper superstructure is Islamic in architecture with pyramidal towers instead of regular dome shapes, giving it a Lotus-like look, originating in the name. Also, this is one of the very few buildings that have the plaster intact though it is defaced at several places due to wear and tear, especially; the dampness on the walls is very visible. The exemplary carvings on the pillar arches including those of birds and delicate art work can be very mesmerizing, especially with the Makara Torana on top of these arches that can still be seen on some of them.
It is also believed that the Mahal or Palace was air-cooled and maintained its temperature during summer. The proof of this can be seen in the pipeline work above and between the arches.
The entire monument is surrounded by a fortifying wall which is rectangular in plan. The four corners of the fortifications have watch towers that would have been used to keep an eye on the intruders into the Womens’ chambers. While it was a very popular practice to have Eunuchs hold guards at Queens’ Palaces in the North India, especially during Moghul rule, the existence of such a practice has not come to light in the Vijayanagara kingdom and era.
The famous St Chapelle is a medieval jewel box in stone and glass, one of the great masterpieces of Gothic art & architecture. The two storey royal chapel stands amidst the complex of the Palais de Justice in the centre of Paris (on the Ile de la Cite, close to Notre Dame). As a result one has to pass through security in order to visit the chapel.
Frustratingly it was closed to the public at the start of our stay owing to George Bush having stayed in or visited the area, thus we had to wait a few days to be able to get inside.
Source: livinghistories.newcastle.edu.au/nodes/view/12452
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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
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The Customs House is often considered architecturally the most important building in Dublin and is sited on the river front of the river Liffey. The Custom House was the first major public building built in Dublin as an isolated structure with four monumental facades. The decision to build at this point further down river (to replace a previous earlier Customs House up river) was forced by the Rt. Hon. John Beresford (1738-1805) who was appointed Chief Commissioner from 1780 onwards and was instrumental in bringing the architect James Gandon to Ireland. There are many famous Gandon buildings in Dublin but this is the most famous and most striking.
The highlight of any visit to Lisbon, this is a stunning place with the cloister being simply superb. Situated in Belém and easily reached by public transport allow a half day to visit to what is a World Heritage Site .
From Sacred Locations.
Founded in 1501, the magnificent Jerónimos Monastery (Mosteiro dos Jerónimos) in Lisbon is a great monument to the Age of Discovery and a magnificent example of the Manueline style of architecture. The monastery was founded by King Manuel I in celebration of - and funded by - successful Portuguese voyages around the world.
History of Jeronimos Monastery
In 1496, King Manuel I (1495–1521) asked the pope for permission to build a great monastery in thanks to the Virgin Mary for Vasco de Gama's successful voyage to India. The request was granted and construction began on the Mosteiro dos Jerónimos on January 6, 1501. The project was funded by treasures from explorations in Africa, Asia, and South America, as well as a stiff tax on the Portuguese-controlled spice trade with Africa and the East.
The king hired French architect Diogo de Boitaca (1460-1528; master of the pioneering Igreja de Jesus in Setúbal), who was later succeeded by João de Castilho (1475-1552) of Spain, Diogo de Torralva (c.1500-1566), and Jerónimo de Ruão (1530-1601). The site Manuel chose for the new monastery was on the banks of the Tagus river, replacing a small chapel dedicated to St. Mary of Belém by Henry the Navigator.
King Manuel I named his new foundation the Mosteiro de Santa Maria de Belém and invited the Order of St. Jerome (Hieronymites, or dos Jerónimos) to occupy it. The powerful Hieronymites were known for their contemplative spirituality and productive intellectual output; they also shared the king's political views.
The Hieronymites monk were expected to celebrate daily mass for the souls of Prince Henry the Navigator, King Manuel I and his successors in perpetuity, in addition to hearing confessions and providing spiritual counsel to seamen and navigators who sailed from Belém.
As for the monastery, it would be not only a thank-offering to the Virgin Mary but a lasting monument to the Age of Discovery and the mausoleum of King Manuel I and his successors. The project was completed around 1600, by which time Renaissance and Baroque elements were incorporated into the design.
The 1755 earthquake damaged the monastery but thankfully did not destroy it. Many restoration projects have been undertaken since then, some executed better than others. The Hieronymites occupied the monastery for 400 years until the dissolution of the monasteries in 1833, when the building became state property. It was used as a college for the Casa Pia of Lisbon (a children's charity) until around 1940.
What to See at Jeronimos Monastery
Jerónimos Monastery is an prime example of Manueline architecture, a style unique to Portugal that combines Flamboyant Gothic, Moorish, and early Renaissance influences. It is characterized by an elaborate use of sculptural detail and often includes maritime motifs. Other notable Manueline structures in Portugal include Batalha Monastery and the Templar Convento de Cristo in Tomar.
The main entrance to the monastic church is the south portal, designed by João de Castilho. Occupying the central pillar is a statue of Henry the Navigator. Inside, fragile-looking pillars covered with sculpture support a complex web of lierne vaulting over three aisles. Much of the artwork depicts scenes of St. Jerome, translator of the Vulgate and patron of the Hieronymite order.
The west door leads into the cloisters, where the stonework is even more impressive than the church. Designed by João de Castilho, the cloisters have two levels, the lower one having a groin vault and the most exuberant decoration. Virtually every surface of the arches and pillars are covered in elaborate Manueline sculpture.
Jerónimos Monastery contains the tombs of King Manuel and other Portuguese royalty, as well as many important figures from Portuguese history. Most famous among the latter is Vasco de Gama, whose accomplishments at sea inspired the monastery. Other notables include the romantic poet Herculano (1800-54) and the poet Fernando Pessoa.
Part of the monastic complex is the freestanding Chapel of St. Jerome, built in 1514. It is a small rectangular building with conical pinnacles at the four corners and stone "rope" along the roofline. Gargoyles look out from the corners. From the west doorway, there is a fine view all the way out to sea.
The church has a special as it has a dual style: Romanesque and Gothic , Gothic architecture based on Romanesque architecture.
The narthex , the nave and transept are the only parts preserved Romanesque. They are arkose , which come from a limestone quarry north of the department. The nave of the church is 18 meters long, which is rather large (slightly larger than Notre-Dame du Port at Clermont-Ferrand ).
Gothic parts are: a chapter house (converted sacristy from the xvi th century) and a turret stairs pepper, the choir with its ambulatory and five radiating chapels. The choir is particularly long and impressive and was well liked by the canons Ennezat to enhance their prestige. Gothic parts are andesite , that is to say, lava stone (also called Volvic stone ), which gives a black color to this part Gothic, as opposed to the light color of the arkose.
The church has undergone many changes in the xix th century, during campaigns by local architect Mallay for Historical Monuments .
Living room from the Little House
雖然沒去看落水山莊
看間客廳也倒是回味無窮
以下是大都會美術館對這間的說明
www.metmuseum.org/Works_of_Art/vr/wright/wright_main.asp
(不過最後一段說明這個局部客廳與中央公園的關係
倒是很難發現)
The Frank Lloyd Wright Room was originally the living room of the summer residence of Frances W. Little, designed and built between 1912 and 1914 in Wayzata, Minnesota, a suburb of Minneapolis. The room epitomizes Wright's concept of "organic architecture," in which the building, setting, interior, and furnishings are inextricably related. The house is composed of a group of low pavilions interspersed with gardens and terraces, which, in plan, radiate from a central symbolic hearth.
The Frank Lloyd Wright Room also exemplifies one of Wright's most important contributions to modern architecture: the idea of spatial continuity. Low overhanging roofs and geometric window "grilles" with stylized plant motifs once linked the interior visually and spatially to the wooded site overlooking Lake Minnetonka. The living room itself is not merely a single, enclosed volume but a series of horizontal levels surrounded by glass, which allows the interplay of natural light and the rich, earthy tones that Wright employed throughout the room.
This room achieves tonal harmony through the combination of ocher plaster walls, natural oak trim and flooring, the use of the exterior reddish brown bricks for the fireplace, and leaded windows with an electroplated copper finish. The bold forms of the oak furniture were likewise conceived as an integral part of the composition. The center of the room is empty and furniture groupings enliven the peripheral space. Many of the accessories are similar to those original to the room, and others recall objects that appear in period photographs. The use of Japanese prints and natural flower arrangements are characteristic Wright touches.
The Museum's installation has sought to preserve the continuity between interior and exterior by reconstructing the exterior facades in the side passageways and providing a view of Central Park.
The Registan (Uzbek: Регистон, Registon) was the heart of the city of Samarkand of the Timurid Empire, now in Uzbekistan. The name Rēgistan (ریگستان) means "sandy place" or "desert" in Persian.
The Registan was a public square, where people gathered to hear royal proclamations, heralded by blasts on enormous copper pipes called dzharchis — and a place of public executions. It is framed by three madrasahs (Islamic schools) of distinctive Persian architecture. The square was regarded as the hub of the Timurid Renaissance.
The three madrasahs of the Registan are the Ulugh Beg Madrasah (1417–1420), the Sher-Dor Madrasah (1619–1636), and the Tilya-Kori Madrasah (1646–1660). Madrasah is an Arabic term meaning school.
Ulugh Beg Madrasah (1417–1420)
The Ulugh Beg Madrasah, built by Ulugh Beg during the Timurid Empire era of Timur, has an imposing iwan with a lancet-arch pishtaq or portal facing the square. The corners are flanked by high minarets. The mosaic panel over the iwan's entrance arch is decorated by geometrical stylized ornaments. The square courtyard includes a mosque and lecture rooms, and is fringed by the dormitory cells in which students lived. There are deep galleries along the axes. Originally the Ulugh Beg Madrasah was a two-storied building with four domed darskhonas (lecture rooms) at the corners.
The Ulugh Beg Madrasah (Persian: مدرسه الغ بیگ) was one of the best clergy universities of the Muslim Orient in the 15th century CE. Abdul-Rahman Jami, the great Persian poet, scholar, mystic, scientist and philosopher studied at the madrasah. Ulugh Beg himself gave lectures there. During Ulugh Beg's government the madrasah was a centre of learning.
Sher-Dor Madrasah (1619–1636)
In the 17th century Uzbek ruler of Samarkand, Yalangtoʻsh Bakhodir, ordered the construction of the Sher-Dor (Persian: شیردار) and Tillya-Kori (Persian: طلاکاری) madrasahs. The tiger mosaics with a rising sun on their back are especially interesting for their depiction of living beings and use of Turko-Persian motifs. The name of the madrasah comes from the patterns on the portal of the building as the word "Sher" means tiger.
Tilya-Kori Madrasah (1646–1660)
Ten years later the Tilya-Kori (Persian: طلاکاری, meaning "Gilded") Madrasah was built. It was not only a residential college for students, but also played the role of grand masjid (mosque). It has a two-storied main facade and a vast courtyard fringed by dormitory cells, with four galleries along the axes. The mosque building (see picture) is situated in the western section of the courtyard. The main hall of the mosque is abundantly gilded.
Mausoleum of Shaybanids
To the east of the Tilya-Kori Madrasah, the mausoleum of Shaybanids (16th century) is located (see picture). The real founder of Shaybanid power was Muhammad Shaybani—grandson of Abu'l-Khayr Khan. In 1500, with the backing of the Chaghataite Khanate, then based in Tashkent, Muhammad Shaybani conquered Samarkand and Bukhara from their last Timurid rulers. The founder of the dynasty then turned on his benefactors and in 1503 took old Tashkent. He captured Khiva in 1506 and in 1507 he swooped down on Merv (Turkmenistan), eastern Persia, and western Afghanistan. The Shaybanids stopped the advance of the Safavids, who in 1502 had defeated the Akkoyunlu (Azerbaijan). Muhammad Shaybani was a leader of nomadic Uzbek tribes. During the ensuing years they substantially settled down in oases of the Central Asia, Caspian shore, Tian Shan valleys, Russian steeps and Indostan . The one of the last and vast Uzbek invasion of the 15th century CE was the large component of today's Uzbek nation ethnogeny.
Chorsu trading dome
The trading dome Chorsu (1785) is situated right behind the Sher-Dor. Chorsu located at southeast of the Registan at the intersection of the cross-roads connecting Samarkand, Tashkent, Bukhara, and Shahrisabz. Chorsu is a word of Persian origin meaning "crossing roads," referring to this famous intersection of busy roadways. The building is old. It has a rather rich centuries-old history. At the moment, it is included in the UNESCO World Heritage List along with the rest of the historical part of the glorious city.
Chorsu was originally a bazaar constructed in the 15th century but was rebuilt in the 18th century, becoming a hat market. The current building was built during the reign of Amir Shahmurad, in 1785. Today, the bazaar which was previously located at Chorsu is nowadays the Siyob Bazaar near the Bibi-Khanym Mosque.
In 2005, ownership of Chorsu was transferred to the Academy of Arts of Uzbekistan. While renovating the building, three meters of dirt were removed from the building revealing the original base construction. Chorsu now serves as an art gallery which offers the work of artists both contemporary and historical. The art of in the Chorsu gallery displays the arts, culture, history, and diversity of the multi-national Uzbek people.
Schwarzenberg Palace
In 1697 the imperial Obersthofmarschall (master court marshal) Franz Heinrich Count of Mansfeld Prince of Fondi acquired some vineyards of the Vienna Jesuits and then commissioned Johann Lukas von Hildebrandt the construction of a palatial summer palace. At the same time Jean Trehet received a contract to design the garden. Count Mansfeld was a military rival of Prince Eugene. His career, however, run more calmly. So he tried to counterbalance the Prince at least architecturally. The building ground immediately adjacent to the Lower Belvedere was deliberately chosen as well as the architect, the builder of the Prince. After the death of the owner bought Prince Adam Franz Karl of Schwarzenberg in 1715 the yet unfinished building and replaced the previous architect by Johann Bernhard Fischer von Erlach. He completed the characteristic central projection risalit and the domed hall. After the death of Fischer his son Joseph Emanuel completed the furnishing of the rooms to 1728. The Orangerie and the riding school on the garden side, however, were only in the mid-18th century by Andrea Altomonte added. The garden already has been changed by JE Fischer von Erlach. To water supply to the fountains he had put up one of the first steam engines of the continent. During the Second World War the central wing of the palace and the right wing were virtually destroyed by bomb hits. The long again restored building remained till today in possession of the Schwarzenberg family, who also lives here and a part of it runs as hotel and restaurant .
The Palais Schwarzenberg has among the Baroque garden palaces of Vienna best preserved its original character, though the baroque garden in 1783 was redesigned in an English landscape park and the court of honour has found a new function as a parking lot. The rectangular main building is bordered by the symmetrically arranged annexes, which form the main courtyard (Ehrenhof). Curved ramps lead to an elegant, three-arched, rectangular arcaded porch, behind which the once by a figure-decorated attic crowned, rounded central projection lies. It projects at the front a little bit backward and at the garden side, analogous, a little foreward. It contains the domed hall, those square floor plan is complemented by a North and South apse. Left of it and right of it connect the state rooms. In the left wing was located the dining room, the study and bedroom of the Prince and the gallery. The latter, also known as the Marble Hall, is the most interesting space. The here situated art gallery is - as only Baroque gallery of Vienna - in its original arrangement preserved. The stucco works stem from Johann and Balthasar Hagenmüller, the frescoes from Daniel Gran. Unfortunately, his large ceiling fresco (1723/24) in the domed hall in 1945 was destroyed. In the right wing were housed the chapel and the salons of Princess. The chapel is an almost square room with white-golden stucco work. It yet goes back to Hildebrandt. Among the pieces of furniture of the staterooms are a complicated astronomical grandfather clock as well as some beautiful fireplaces to mention. Part of the furniture comes from the in 1894 demolished Palais Schwarzenberg at Neuer Markt. Behind the building connects parallel to the Belvedere Park an elongated garden, where four groups of statues of sandstone by Lorenzo Mattielli have been preserved. The large stone vases are made according to designs by Fischer von Erlach. The Eggenburger (Lower Austria) stone mason Andrea Steinböckh created the cascade. The former riding school and the economy tracts at the Prinz-Eugen-Straße in 1928 were redesigned by Carl W. Schmidt in Baroque style. There today the Swiss embassy has its headquarters.
Location / Address: 1030 Vienna, Rennweg 2
Visit: The state rooms are on the occasion of events accessible, the rest of the building is used privately ore rented.
Tuesday 26 May 2015.
Dean Simon Anderson and alumni experts from around the world engaged in a compelling panel discussion to celebrate the 1965 foundation meeting of the Faculty of Architecture.
The Hassan II Mosque is a mosque in Casablanca, Morocco. It is the largest mosque in Africa, and the 5th largest in the world. Its minaret is the world's tallest minaret at 210 metres. Completed in 1993, it was designed by Michel Pinseau and built by Bouygues. The minaret is 60 stories high topped by a laser, the light from which is directed towards Mecca.[4] The mosque stands on a promontory looking out to the Atlantic Ocean; worshippers can pray over the sea but there is no glass floor looking into the sea. The walls are of hand-crafted marble and the roof is retractable. A maximum of 105,000 worshippers can gather together for prayer: 25,000 inside the mosque hall and another 80,000 on the mosque's outside ground
Address: Boulevard de la Corniche, Casablanca 20000, Morocco
Height: 689′ CTBUH
Construction cost: $400–$700 million
Architectural style: Moorish architecture
Architect: Michel Pinseau
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
St Louis Architecture
The Railway Exchange Building is an 84.4 m (277 ft), 21-story high-rise office building in St. Louis, Missouri. The 1914 steel-frame building is in the Chicago school architectural style, and was designed by architect Mauran, Russell & Crowell. The building was the city's tallest when it opened, and remains the second-largest building in downtown St. Louis by interior area, with almost 1,200,000 square feet (110,000 m2) of space.
( FROM en.wikipedia.org/wiki/Railway_Exchange_Building_(St._Louis) )
Bakong (Khmer: ប្រាសាទបាគង) is the first temple mountain of sandstone constructed by rulers of the Khmer empire at Angkor near modern Siem Reap in Cambodia. In the final decades of the 9th century AD, it served as the official state temple of King Indravarman I in the ancient city of Hariharalaya, located in an area that today is called Roluos.
The structure of Bakong took shape of stepped pyramid, popularly identified as temple mountain of early Khmer temple architecture. The striking similarity of the Bakong and Borobudur temple in Java, going into architectural details such as the gateways and stairs to the upper terraces, suggests strongly that Borobudur was served as the prototype of Bakong. There must had been exchanges of travelers, if not mission, between Khmer kingdom and the Sailendras in Java. Transmitting to Cambodia not only ideas, but also technical and architectural details of Borobudur, including arched gateways in corbelling method.
HISTORY
In 802 AD, the first king of Angkor Jayavarman II declared the sovereignty of Cambodia. After ups and downs, he established his capital at Hariharalaya. Few decades later, his successors constructed Bakong in stages as the first temple mountain of sandstone at Angkor. The inscription on its stele (classified K.826) says that in 881 King Indravarman I dedicated the temple to the god Shiva and consecrated its central religious image, a lingam whose name Sri Indresvara was a combination of the king's own and the suffix "-esvara" which stood for Shiva ("Iśvara"). According to George Coedès, the devarāja cult consisted in the idea of divine kingship as a legitimacy of royal power, but later authors stated that it doesn't necessarily involve the cult of physical persona of the ruler himself.
Bakong enjoyed its status as the state temple of Angkor for only a few years, but later additions from the 12th or 13th centuries testify that it was not abandoned. Toward the end of the 9th century, Indravarman's son and successor Yasovarman I moved the capital from Hariharalaya to the area north of Siem Reap now known as Angkor, where he founded the new city of Yaśodharapura around a new temple mountain called Bakheng.
SITE
The site of Bakong measures 900 metres by 700 metres, and consists of three concentric enclosures separated by two moats, the main axis going from east to west. The outer enclosure has neither a wall nor gopuram and its boundary is the outer moat, today only partially visibile. The current access road from NH6 leads at the edge of the second enclosure. The inner moat delimits a 400 by 300 metres area, with remains of a laterite wall and four cruciform gopuram, and it is crossed by a wide earthen causeway, flanked by seven-headed nāgas, such as a draft of nāga bridge . Between the two moats there are the remains of 22 satellite temples of brick. The innermost enclosure, bounded by a laterite wall, measures 160 metres by 120 metres and contains the central temple pyramid and eight brick temple towers, two on each side. A number of other smaller buildings are also located within the enclosure. Just outside of the eastern gopura there is a modern buddhist temple.
The pyramid itself has five levels and its base is 65 by 67 metres. It was reconstructed by Maurice Glaize at the end of the 1930s according to methods of anastylosis. On the top there is a single tower that is much later in provenance, and the architectural style of which is not that of the 9th century foundations of Hariharalaya, but that of the 12th-century temple city Angkor Wat.
Though the pyramid at one time must have been covered with bas relief carvings in stucco, today only fragments remain. A dramatic scene-fragment involving what appear to be asuras in battle gives a sense of the likely high quality of the carvings. Large stone statues of elephants are positioned as guardians at the corners of the three lower levels of the pyramid. Statues of lions guard the stairways.
Brahmeswara Temple is a Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, erected at the end of the 9th century CE, is richly carved inside and out. This Hindu temple can be dated with fair accuracy by the use of inscriptions that were originally on the temple. They are now lost, but records of them preserve the information of around 1058 CE. The temple is built in the 18th regnal year of the Somavamsi king Udyotakesari by his mother Kolavati Devi, which corresponds to 1058 CE.
HISTORY
Historians place the temple to belong to the late 11th century as ascertained from an inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple was built by Kolavatidevi, the mother of Somavamsi king Udyota Kesari. It was built with four Natyasalas at a place known as Siddhatirtha in Ekamra (modern day Bhubaneswar). The inscription was recorded during the 18th renal year of Udyotha Kesari, corresponding to 1060 CE. Since the inscription is not in its original place, historians indicate the possibility of the reference to another temple, but based on the location and other features specified, it is ascertained that the inscription belongs to the temple. Also, another issue raised by Panigrahi is that the four cardinal temples are Angasalas (associate temples) and not Natyasalas (dance halls) as indicated in the inscription.
ARCHITECTURE
The temple is classified as a panchatanaya temple where apart from the main shrine, there are four subsidiary shrines in the four corners around the temple. The temple on account of its later origin, has perfectly developed structure compared to its predecessors. The vimana of the temple is 18.96 m tall. The temple is built with traditional architectural methods of wood carving, but applied on stone building. The buildings were built in a shape of full volume pyramid, and then they would be carved inside and outside.The basic structure of the Orissan temple has two connecting buildings. The smaller is the Jagmohana, or assembly hall. Behind it is the Shikhara, the towering sanctuary. Later temples have two additional halls in front - one for dancing, and the other for banquets.
The Brahmeswara shows quite a bit of affinity with the much earlier Mukteswar Temple, including the carved interior of the Jagmohana, and in the sculptural iconography such as the lion head motif, which appeared for the first time in the Mukteswara, and is here evident in profusion. There are quite a number of innovations, however, including the introduction of a great number of musicians and dancers, some holding lutes, on the exterior walls. For the first time in temple architectural history iron beams find their first use.
On sandstone walls there are symbolic decorations and the notion of godlike figures that helps the believer in his meditation. The carvings over the door frame contain beautiful flower designs as well as flying figures. Like the Rajarani, there are images of the eight directional Guardian Deities. There are also quite a number of tantric-related images, and even Chamunda appears on the western facade, holding a trident and a human head, standing on a corpse. Shiva and other deities are also depicted in their horrific aspects.
One of the lost inscriptions stated that a Queen Kolavati presented 'many beautiful women' to the temple, and it has been suggested that this is an evidence of the 'Devadasi' tradition, which assumed such importance in later Orissan temple architecture and temple life.
WIKIPEDIA
Architecture
The Centre was designed by the Italian architect Renzo Piano; the British architect Richard Rogers ; and the Italian architect Gianfranco Franchini, assisted by Ove Arup & Partners. [1]. The project was awarded to this team in an architectural design competition, whose results were announced in 1971. Reporting on Rogers' winning the Pritzker Prize in 2007, The New York Times noted that the design of the Centre "turned the architecture world upside down" and that "Mr. Rogers earned a reputation as a high-tech iconoclast with the completion of the 1977 Pompidou Centre, with its exposed skeleton of brightly colored tubes for mechanical systems. The Pritzker jury said the Pompidou "revolutionized museums, transforming what had once been elite monuments into popular places of social and cultural exchange, woven into the heart of the city."[2]
Initially, all of the functional structural elements of the building were color-coded: green pipes are plumbing, blue ducts are for climate control, electrical wires are encased in yellow, and circulation elements and devices for safety (e.g., fire extinguishers) are red.[1] However, recent visits suggest that this color coding has partially lapsed, and many of the elements are simply painted white.
Wikipedia
Venetian architecture.
The island of Corfu—known as Kerkyra in Greek—is strategically located at the entrance to the Adriatic Sea. Regularly fought over, the Romans gained control in the 3rd century BCE, continuing with the Byzantine Empire (eastern portion of the divided Roman Empire) from the 4th century CE. In 1386 CE the Venetians took over. They held off multiple attacks from the Ottoman Turks. In 1797 CE Napoleon Bonaparte secretly negotiated the end of the Republic of Venice bringing Corfu under French rule. All the Ionian Islands became a British protectorate in 1815 CE until being ceded to Greece in 1864 CE.
The Old Town of Corfu was designated a UNESCO World Heritage site in 2007.
On Google Earth:
Corfu Old Town 39°37'28.75"N, 19°55'18.93"E
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
Kailasa Temple represents Siva's heaven on a Himalayan glacier, a place no mortal can reach.
Ellora (Marathi: वेरूळ Vērūḷa) is an archaeological site, 30 km (19 mi) from the city of Aurangabad in the Indian state of Maharashtra built by the Rashtrakuta dynasty (Kannada: ರಾಷ್ಟ್ರಕೂಟ). Well-known for its monumental caves, Ellora is a World Heritage Site. Ellora represents the epitome of Indian rock-cut architecture. The 34 "caves" – actually structures excavated out of the vertical face of the Charanandri hills. Buddhist, Hindu and Jain rock-cut temples and viharas and mathas were built between the 5th century and 10th century. The 12 Buddhist (caves 1–12), 17 Hindu (caves 13–29) and 5 Jain (caves 30–34) caves, built in proximity, demonstrate the religious harmony prevalent during this period of Indian history.
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
Het Loo Palace, is a palace in Apeldoorn, Netherlands. The symmetrical Dutch Baroque building was designed by Jacob Roman and Johan van Swieten and was built between 1684 and 1686 for King William III and Mary II of England. The garden was designed by Claude Desgotz. The palace was a residence of the House of Orange-Nassau from the 17th century until the death of Queen Wilhelmina in 1962. The building was renovated between 1976 and 1982. Since 1984, the palace is a state museum open for the general public, showing interiors with original furniture, objects and paintings of the House of Orange-Nassau.
Architecture
The Dutch Baroque architecture of Het Loo minimizes the grand stretch of its construction, so emphatic at Versailles, and present itself as just a fine gentleman's residence. Het Loo is not a palace but a retreat. Nevertheless, it is situated entre cour et jardin ("between court and garden") as Versailles. The paved court, lightly screened from the road by a wrought-iron grill, is domesticated by a traditional plat of box-bordered green, the homey touch of a cross in a circle you find in a bougeois garden.
Tower yesterday and today
Architecture
The world's first television tower located in Stuttgart. For over 50 years, defying the 217 meter high tower wind and weather. That the first tower would actually keep up with a steel-concrete construction, construction, not all were believed to Stuttgart.
After a construction period of 20 months of the Stuttgart TV tower was on the 5th Inaugurated in February 1956. He became a prototype which is across the globe and developed replicas - from Dortmund to Frankfurt via Johannesburg and Wuhan in China.
A tower is not only for technology
Originally, the South German Radio wanted to put their antennas on a 200 meter high, with wire ropes secured iron lattice towers. The famous Stuttgart bridge builder and structural engineer, Professor Fritz Leonhardt suggested, however present a concrete tower. The novelty of his idea of not only the construction but the proposal, the building was also used to tourists and gastronomically. Thus, an aesthetic tower was included with a nearly circular cylindrical basket, the observation deck, restaurant and transmitter technology. The construction cost of 4.2 million dollars already amortized in five years by the admission fees.
Today is a landmark of Stuttgart
Today's TV tower is one of the landmarks of Stuttgart. From no other point from the Stuttgart city views, is so impressive about the vineyard landscape of the Neckar Valley, on the land over to the Swabian Jura, the Black Forest and the Odenwald and the TV tower.
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
St Michael Stanton Harcourt is a treasury of medieval art and architecture. The present building is Noman in origin remodelled in the C13 when transepts were added and the chancel enlarged. The Norman features c. 1150 include the north and south doorways. The chancel c. 1250 has three graduated lancets with internal clustered shafts with stiff-leaf capitals. In the C15 the Harcourt chapel was built on the south side of the chancel, c.1470 sometimes attributed to William Orchard. The nave roof is of c. 1400. The font was made in 1833, A rare mid C13 chancel screen has C15 squints pierced through it and a C15 painting of a saint. On the north wall of the chancel is part of the shrine of St Edburg removed from Bicester Priory by Sir James Harcourt during the Dissolution. The upper part is 1294-1317 while the base is constructed from a C15 tomb-chest, Statues of Field Marshal William Earl and Sir William Vernon Harcourt. Effigy thought to be Maud, wife of Sir Thomas Harcourt c.1400 in the chancel. In the Harcourt Chapel Sir Robert Harcourt d. 1471 and wife. Sir Robert Harcourt knight c.1490. In the south transept tomb-chest, Sir Simon Harcourt d. 1547. Large Baroque wall-monument to Sir Philip Harcourt and wife. Several C15 and C16 brasses and some medieval stained glass. Next to the church Pope's tower c. 1460-71. Banner thought to have been used at the Battle of Bosworth.
The Evangelic City church is a Protestant church in downtown Karlsruhe.
History
The city church was built according to plans by Friedrich Weinbrenner and according to specifications of the Grand Duke Karl Friedrich von Baden as cathedral church of the state of Baden at the Marketplace. The laying of the foundation stone of the church took place on June 8, 1807, the consecration of the church followed on 2 June 1816 (Pentecost).
Architecture
The Grand Duke exercised a strong influence on the appearance of the church. It is designed according to the principles of a Roman temple. The flat-roofed galleried hall is preceded by a portico of the Corinthian order. On both sides there are courts and secular wing constructions. The bell tower is 61.70 meters high, to its platform lead 150 steps. The Angel of Peace on the top of the tower is 2.70 m high. He could be cast anew according to a preserved form and indicates from which direction the wind blows. The tower houses a large chime of five bells from the bell foundry Bachert from 1958 in the disposition as0-c1-e s1-f1-as1. During World War II, the church was badly damaged and then built up under the direction of Horst Linde again, externally similar to the original plans, interior modern. Consecrated was the newly built church on 30 November 1958 by the then regional bishop Julius Bender.
The lower church originally served as the grave lay of the Grand Ducal family. Therefore, it was also referred to as the Grand Ducal Court Church. The coffins were in 1946 transferred to the mausoleum in Pheasant garden.
Organ
Longhouse towards the west with the double galleries of reconstruction and the main organ
Longhouse towards the east east with choir and left the Remy Mahler organ (these pictures you can see by clicking on the link at the end of page!)
In the town church was until 1944 a large organ which went back to the instrument that was built in 1751 of Johann Andreas Silbermann and his brother Johann Daniel for Villingen collegiate church. This one came as a gift of the Baden Grand Duke Karl Friedrich in the newly built collegiate church and was until its destruction in stages technically modernized and greatly expanded. After the reconstruction of the church in 1957, a new instrument of organ manufacturer G. F. Steinmeyer & Co with electric key and stop actions was consecrated.
Die Evangelische Stadtkirche ist eine evangelische Kirche in der Innenstadt von Karlsruhe.
Geschichte
Die Stadtkirche wurde nach Plänen von Friedrich Weinbrenner und nach Vorgaben des Großherzogs Karl Friedrich von Baden als Kathedralkirche des Landes Baden am Marktplatz erbaut. Die Grundsteinlegung der Kirche erfolgte am 8. Juni 1807, die Einweihung der Kirche war am 2. Juni 1816 (Pfingsten).
Architektur
Der Großherzog nahm starken Einfluss auf das Aussehen der Kirche. Sie ist nach den Grundzügen eines römischen Tempels gestaltet. Der flachgedeckten Emporenhalle ist ein Säulenportikus korinthischer Ordnung vorangestellt. An beiden Seiten befinden sich Höfe und profane Flügelbauten. Der Glockenturm ist 61,70 Meter hoch, auf seine Plattform führen 150 Stufen. Der Friedensengel auf der Spitze des Turms ist 2,70 m hoch. Er konnte entsprechend einer erhaltenen Form nachgegossen werden und zeigt an, woher der Wind weht. Der Turm beherbergt ein großes Geläut aus fünf Glocken von der Glockengießerei Bachert aus dem Jahr 1958 in der Disposition as0–c1–es1–f1–as1. Im Zweiten Weltkrieg wurde die Kirche stark zerstört und anschließend unter Leitung von Horst Linde wieder aufgebaut, äußerlich an Originalpläne angelehnt, innen modern. Eingeweiht wurde die neu errichtete Kirche am 30. November 1958 von dem damaligen Landesbischof Julius Bender.
Die Unterkirche diente ursprünglich als Grablege der Großherzoglichen Familie. Daher wurde sie auch als großherzogliche Hofkirche bezeichnet. Die Särge wurden 1946 in das Mausoleum im Fasanengarten überführt.
Orgel
Langhaus nach West mit den Doppelemporen des Wiederaufbaus und der Hauptorgel
Langhaus nach Ost mit Chor und links der Remy Mahler-Orgel
In der Stadtkirche befand sich bis 1944 eine große Orgel, die auf das 1751 von Johann Andreas Silbermann und seinem Bruder Johann Daniel für die Villinger Stiftskirche erbaute Instrument zurückging. Dieses gelangte als Geschenk des badischen Großfürsten Karl Friedrich in die neu erbaute Stiftskirche und wurde bis zu seiner Zerstörung in mehreren Etappen technisch modernisiert und stark erweitert. Nach dem Wiederaufbau der Kirche wurde 1957 ein neues Instrument der Orgelbaufirma G. F. Steinmeyer & Co. mit elektrischen Spiel- und Registertrakturen eingeweiht.
St Louis Architecture
The Railway Exchange Building is an 84.4 m (277 ft), 21-story high-rise office building in St. Louis, Missouri. The 1914 steel-frame building is in the Chicago school architectural style, and was designed by architect Mauran, Russell & Crowell. The building was the city's tallest when it opened, and remains the second-largest building in downtown St. Louis by interior area, with almost 1,200,000 square feet (110,000 m2) of space.
( FROM en.wikipedia.org/wiki/Railway_Exchange_Building_(St._Louis) )
Pisa
In Christian architecture the baptistry or baptistery (Latin baptisterium, from Greek βαπτίζειν) is the separate centrally-planned structure surrounding the baptismal font. The baptistry may be incorporated within the body of a church or cathedral and be provided with an altar as a chapel. In the early Christian Church, the catechumens were instructed and the sacrament of baptism was administered in the baptistery.
Brahmeswara Temple is a Hindu temple dedicated to Shiva located in Bhubaneswar, Odisha, erected at the end of the 9th century CE, is richly carved inside and out. This Hindu temple can be dated with fair accuracy by the use of inscriptions that were originally on the temple. They are now lost, but records of them preserve the information of around 1058 CE. The temple is built in the 18th regnal year of the Somavamsi king Udyotakesari by his mother Kolavati Devi, which corresponds to 1058 CE.
HISTORY
Historians place the temple to belong to the late 11th century as ascertained from an inscription carried to Calcutta from Bhubaneswar. The inscription indicates that the temple was built by Kolavatidevi, the mother of Somavamsi king Udyota Kesari. It was built with four Natyasalas at a place known as Siddhatirtha in Ekamra (modern day Bhubaneswar). The inscription was recorded during the 18th renal year of Udyotha Kesari, corresponding to 1060 CE. Since the inscription is not in its original place, historians indicate the possibility of the reference to another temple, but based on the location and other features specified, it is ascertained that the inscription belongs to the temple. Also, another issue raised by Panigrahi is that the four cardinal temples are Angasalas (associate temples) and not Natyasalas (dance halls) as indicated in the inscription.
ARCHITECTURE
The temple is classified as a panchatanaya temple where apart from the main shrine, there are four subsidiary shrines in the four corners around the temple. The temple on account of its later origin, has perfectly developed structure compared to its predecessors. The vimana of the temple is 18.96 m tall. The temple is built with traditional architectural methods of wood carving, but applied on stone building. The buildings were built in a shape of full volume pyramid, and then they would be carved inside and outside.The basic structure of the Orissan temple has two connecting buildings. The smaller is the Jagmohana, or assembly hall. Behind it is the Shikhara, the towering sanctuary. Later temples have two additional halls in front - one for dancing, and the other for banquets.
The Brahmeswara shows quite a bit of affinity with the much earlier Mukteswar Temple, including the carved interior of the Jagmohana, and in the sculptural iconography such as the lion head motif, which appeared for the first time in the Mukteswara, and is here evident in profusion. There are quite a number of innovations, however, including the introduction of a great number of musicians and dancers, some holding lutes, on the exterior walls. For the first time in temple architectural history iron beams find their first use.
On sandstone walls there are symbolic decorations and the notion of godlike figures that helps the believer in his meditation. The carvings over the door frame contain beautiful flower designs as well as flying figures. Like the Rajarani, there are images of the eight directional Guardian Deities. There are also quite a number of tantric-related images, and even Chamunda appears on the western facade, holding a trident and a human head, standing on a corpse. Shiva and other deities are also depicted in their horrific aspects.
One of the lost inscriptions stated that a Queen Kolavati presented 'many beautiful women' to the temple, and it has been suggested that this is an evidence of the 'Devadasi' tradition, which assumed such importance in later Orissan temple architecture and temple life.
WIKIPEDIA
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).
Manohara Resort provides rooms with private balcony, a 5-minute stroll from Borobudur Temple. Surrounded by gardens that compliment its Javanese architecture, the resort is a great destination to relax.
Rooms at Manohara Hotel are air-conditioned and well-appointed with a bathtub in the bathroom. They come with a minibar, cable TV and a tea/coffee maker.
The hotel’s tour desk organises excursions to tourist attractions. Guests can enjoy an early morning tour to catch spectacular sunrises over Borobudur Temple. For an afternoon indoors, There is also free WiFi access in all areas.
The Manohara provides the convenience of an on-site restaurant. It provides services such as airport shuttle and car rental facilities at additional charges.
The Manohara Resort is a 20-minute drive from Magelang City and a 1.5-hour drive from Adi Sucipto International Airport in Yogyakarta.
This property also has one of the best-rated locations in Borobudur! Guests are happier about it compared to other properties in the area.
Central to the upper facade is a rose window, in the shape of a Wheel of Fortune, the work of one Brioloto, and one of the earliest examples in the Romanesque architecture of such a structure that was to become a particular feature of Gothic architecture. The outer rim of the window is decorated by six figures representing the vacillations of human life. The porch is from the 12th century with lions at the base of its columns which are symbols of law and faith. The spandrels of the exterior arch each have a bas-relief portraying St. John the Baptist and St. John the Evangelist while above the arch are the Lamb and the blessing hand of God.
Porch by Maestro Nicolo (1138). Simple and elegant architectual structure, resting on two styloforus lions. The style of the scruptural decorations in the form of telamons (columns in the form of a male figure), months, prophets, soomophous and vegetal elements is mature and essential.
A polychrome lunette portrays Saint Zeno receiving the homage of the citizens and a frieze depicts scenes from the Saint’s life.
The reliefs on the right, by Maestro Nicolo and his studio (start of the 12th century), portray scenes from the Old Testament and the Legend of Theoderic.
The reliefs on the left, by Maestro Guglielmo and his studio (start of the 12th century) portray scenes from the New Testament and duels between knights and foot soldiers.
GABRA, Gawdat (2002). Coptic Monasteries. Egypt's Monastic Art and Architecture. The American University of Cairo Press, Cairo/New York. ISBN 977 424 691 8
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The Monastery of Saint Macarius (Arabic: دير الأنبا مقار) is a Coptic Orthodox monastery located in Wadi El Natrun, Beheira Governorate, about 92 km north west of Cairo, and off the highway between Cairo and Alexandria.
The monastery was founded in approximately 360 AD by Saint Macarius of Egypt, who was the spiritual father to more than four thousand monks of different nationalities. From its foundation in the 4th century up to the present day, the monastery has been continuously inhabited by monks. Several Christian saints and fathers of the early Church were monks at the Monastery of Saint Macarius, such as Saint Macarius of Alexandria, Saint John the Dwarf, Saint Paphnutius the Ascetic, Saint Isidore, Saint Arsenius, Saint Moses the Black, Saint Poemen, Saint Serapion and many others.
In 1969, the monastery entered an era of restoration, both spiritually and architecturally, with the arrival of twelve monks under the spiritual leadership of Father Matta El Meskeen. These monks had spent the previous ten years living together entirely isolated from the world, in the desert caves of Wadi El Rayyan, about 50 kilometres south of Fayoum.
Pope Cyril VI ordered this group of monks to leave Wadi El Rayyan and go to the Monastery of Saint Macarius the Great to restore it. At that time only six aged monks were living in the monastery and its historic buildings were on the verge of collapsing. The new monks were received by the abbot of the monastery, Bishop Michael, Metropolitan of Assiut.
Under Pope Shenouda III, who was himself busily engaged in restoring the Monastery of Saint Pishoy and the Paromeos Monastery, and after fourteen years of constant activity both in reconstruction and spiritual renewal, the monastic community in the Monastery of Saint Macarius numbers about one hundred monks.
The Monastery of Saint Macarius maintains spiritual, academic and fraternal links with several monasteries abroad, including the monastery of Chevtogne in Belgium, Solesmes Abbey and the Monastery of the Transfiguration in France, Deir El Harf in Lebanon and the Convent of the Incarnation in England.
The Monastery of Saint Macarius the Great contains the relics of many saints, such as the Forty Nine Elder Martyrs of Scetes.
During the restoration of the big Church of Saint Macarius, the crypt of Saint John the Baptist and that of Elisha the Prophet were discovered below the northern wall of the church, in accordance with the site mentioned in manuscripts from the 11th & 16th centuries found in the library of the monastery. This is also confirmed by the ecclesiastical tradition of the Coptic Orthodox Church. The relics were gathered in a special reliquary and placed before the sanctuary of Saint John the Baptist in the church of Saint Macarius. A detailed account of this discovery and an assessment of the authenticity of the relics was published by the monastery (Wikipedia).
St Michael Stanton Harcourt is a treasury of medieval art and architecture. The present building is Noman in origin remodelled in the C13 when transepts were added and the chancel enlarged. The Norman features c. 1150 include the north and south doorways. The chancel c. 1250 has three graduated lancets with internal clustered shafts with stiff-leaf capitals. In the C15 the Harcourt chapel was built on the south side of the chancel, c.1470 sometimes attributed to William Orchard. The nave roof is of c. 1400. The font was made in 1833, A rare mid C13 chancel screen has C15 squints pierced through it and a C15 painting of a saint. On the north wall of the chancel is part of the shrine of St Edburg removed from Bicester Priory by Sir James Harcourt during the Dissolution. The upper part is 1294-1317 while the base is constructed from a C15 tomb-chest, Statues of Field Marshal William Earl and Sir William Vernon Harcourt. Effigy thought to be Maud, wife of Sir Thomas Harcourt c.1400 in the chancel. In the Harcourt Chapel Sir Robert Harcourt d. 1471 and wife. Sir Robert Harcourt knight c.1490. In the south transept tomb-chest, Sir Simon Harcourt d. 1547. Large Baroque wall-monument to Sir Philip Harcourt and wife. Several C15 and C16 brasses and some medieval stained glass. Next to the church Pope's tower c. 1460-71. Banner thought to have been used at the Battle of Bosworth.
Schwarzenberg Palace
In 1697 the imperial Obersthofmarschall (master court marshal) Franz Heinrich Count of Mansfeld Prince of Fondi acquired some vineyards of the Vienna Jesuits and then commissioned Johann Lukas von Hildebrandt the construction of a palatial summer palace. At the same time Jean Trehet received a contract to design the garden. Count Mansfeld was a military rival of Prince Eugene. His career, however, run more calmly. So he tried to counterbalance the Prince at least architecturally. The building ground immediately adjacent to the Lower Belvedere was deliberately chosen as well as the architect, the builder of the Prince. After the death of the owner bought Prince Adam Franz Karl of Schwarzenberg in 1715 the yet unfinished building and replaced the previous architect by Johann Bernhard Fischer von Erlach. He completed the characteristic central projection risalit and the domed hall. After the death of Fischer his son Joseph Emanuel completed the furnishing of the rooms to 1728. The Orangerie and the riding school on the garden side, however, were only in the mid-18th century by Andrea Altomonte added. The garden already has been changed by JE Fischer von Erlach. To water supply to the fountains he had put up one of the first steam engines of the continent. During the Second World War the central wing of the palace and the right wing were virtually destroyed by bomb hits. The long again restored building remained till today in possession of the Schwarzenberg family, who also lives here and a part of it runs as hotel and restaurant .
The Palais Schwarzenberg has among the Baroque garden palaces of Vienna best preserved its original character, though the baroque garden in 1783 was redesigned in an English landscape park and the court of honour has found a new function as a parking lot. The rectangular main building is bordered by the symmetrically arranged annexes, which form the main courtyard (Ehrenhof). Curved ramps lead to an elegant, three-arched, rectangular arcaded porch, behind which the once by a figure-decorated attic crowned, rounded central projection lies. It projects at the front a little bit backward and at the garden side, analogous, a little foreward. It contains the domed hall, those square floor plan is complemented by a North and South apse. Left of it and right of it connect the state rooms. In the left wing was located the dining room, the study and bedroom of the Prince and the gallery. The latter, also known as the Marble Hall, is the most interesting space. The here situated art gallery is - as only Baroque gallery of Vienna - in its original arrangement preserved. The stucco works stem from Johann and Balthasar Hagenmüller, the frescoes from Daniel Gran. Unfortunately, his large ceiling fresco (1723/24) in the domed hall in 1945 was destroyed. In the right wing were housed the chapel and the salons of Princess. The chapel is an almost square room with white-golden stucco work. It yet goes back to Hildebrandt. Among the pieces of furniture of the staterooms are a complicated astronomical grandfather clock as well as some beautiful fireplaces to mention. Part of the furniture comes from the in 1894 demolished Palais Schwarzenberg at Neuer Markt. Behind the building connects parallel to the Belvedere Park an elongated garden, where four groups of statues of sandstone by Lorenzo Mattielli have been preserved. The large stone vases are made according to designs by Fischer von Erlach. The Eggenburger (Lower Austria) stone mason Andrea Steinböckh created the cascade. The former riding school and the economy tracts at the Prinz-Eugen-Straße in 1928 were redesigned by Carl W. Schmidt in Baroque style. There today the Swiss embassy has its headquarters.
Location / Address: 1030 Vienna, Rennweg 2
Visit: The state rooms are on the occasion of events accessible, the rest of the building is used privately ore rented.
Kugelmugel
From Wikipedia, the free encyclopedia
Republik Kugelmugel
Micronation
Flag Official seal
Status Government in Exile
Location 7.68m in diameter within Austria
Capital Kugelmugel
Official languages German
Organizational structure Republic
- President Edwin Lipburger
Establishment
- Declared 1984
Population
- estimate 1 (in exile)
Portal icon Micronations portal
The "Republic of Kugelmugel"
Another view of Kugelmugel
Kugelmugel is a former micronation located in Vienna, Austria.
Located in Vienna Prater, the Republic of Kugelmugel declared independence in 1984, after disputes between artist Edwin Lipburger and Austrian authorities over building permits for the ball-shaped house which he built in the countryside in Lower Austria and which was moved into the park by the authorities. The house is enclosed by a barbed-wire fence and is the only address within the proclaimed Republic. Its address is "2, Antifaschismusplatz 1" (2nd district (Leopoldstadt), "Anti-Fascism Square" No. 1), and the founder is the head of state of hundreds of non-resident citizens. Lipburger refused to pay taxes to the Austrian government and began to print his own stamps, for which he received a prison sentence in court. Only a pardon by the Austrian President saved him from going to jail.
Austrian state officials relocated the structure to the Prater park and surrounded it with barbed wire fencing.
Kugelmugel has since become a tourist attraction in Vienna due to its unique history and architecture. The word "Kugel" means "sphere" in German; the word "Mugel" is an Austrian German expression for "bump" or "mogul".
Kugelmugel in popular culture
Kugelmugel is a minor character in the manga Hetalia: Axis Powers.
He is an art-loving young man, with white hair worn in long twin braids and purple eyes. He is shown saying 'Declaring independence is....art?' He also questions whether Baumkuchen is art
Shelby County, AL
Listed: 3/29/2006
The Calera Downtown Historic District is nominated to the National Register for its significance in the areas of Transportation, Commerce, and Architecture.
Transportation: The Calera Downtown Historic District is eligible for listing under Criterion A for its association with the development of community through its strategic location on rail and highway routes. The community traces its history to the development of the Alabama and Tennessee River Railroad, an antebellum line that whose aim was to link river ports at Selma with existing rail lines to Chattanooga and the northeast. Prior to the Civil War, in 1855, the line was completed from Selma to Calera, and the community began to see its earliest development. During the post-Civil War economic recovery and industrialization, Calera was on its way to becoming an important railroad hub when, in 1870, the South and North Alabama Railroad from Montgomery to Calera was completed. Ensuing years saw this north-south line incorporated into the Louisville and Nashville (L&N) Railroad; and the Alabama and Tennessee River Railroad became part of the Alabama Great Southern (AGS), serving to connect the small village of Calera to urban America. Calera prospered from the creation of railroad jobs and housing, as well as the increase in activity in the community. Evidence of this prosperity appeared in the incorporation of the town, an increase in population, and construction of resources reflecting a sense of community. The district contains the few rail-period resources remaining in the original downtown center: the Masonic Lodge (#18), the Wade Hotel (#13), and a collection of vernacular residences that likely served to house railroad employees. These were strategically located in accordance with a proposed plan for development, with the railroad intersection serving as the hub of commercial activity along Main Street (l6th Avenue) and Montgomery Avenue (U.S. Highway 31), the Masonic Lodge and Gardner Street (17th Avenue) forming a southern anchor a block to the south, and residences being clustered along the south and southeast.
Architecture: The Calera Downtown Historic District is eligible for listing under Criterion A for its collection of vernacular commercial structures dating from the late-nineteenth to the mid-twentieth centuries, including good examples of one- and two-part commercial blocks, temple-front and free-standing commercial buildings. Together these structures depict the evolution of the community from its days as an early industrial town to its growth as a transportation center. They reflect the variety of opportunities available in the community, offering to meet every need of the citizenry. From banking to groceries, to dry goods, to shoe repair, to entertainment, to socialization, automobile service, and accommodation-all were available in the two-block area of the community. It was these opportunities that held the town together and that have been challenged by the rapid growth of outlying areas. Merchants and city officials are eager to preserve this commercial center through preservation and planned development.
Commerce: The Calera Downtown Historic District is eligible for listing under Criterion C for its collection of vernacular commercial, residential, public, and fraternal architecture. The landmark buildings - the Masonic Lodge (#18),the Wade Hotel (#13), the Central State Bank Building (#3), and the City Hall (#28) - depict fine examples of late-nineteenth to mid-twentieth century vernacular architecture. Though not high styled, they show attention to detail, with parapet-fronted facades, segmental-arched fenestration, Doric-columned porticoes, and cupola crowned roofs, architecturally portraying their important social, economic, and governmental roles in the community. Other one-part commercial blocks reflect the openness to pedestrian traffic and appeal of commercial display windows offered by the downtown community. Later commercial buildings reflect the move toward modernization that occurred during the post-World War II boom years, when new materials and shapes took favor, as well as a yearning to cling to the traditional in the foundations of local government. The commercial architecture of a small community, in essence, reflected a microcosm of architectural trends on a larger scale.
The small collection of vernacular residential types including central passage (#25), saddlebag (#23), L-cottage (#31), and T -cottages (#s 26, 30 & 32), an I-house (#33) and Craftsman period bungalows (#24) bear no less significance than their commercial counterparts. Among the earliest residences in the community, these homes reflect the transition of the community from a small farming village to a promising urban center. They are linked physically and historically to the railroad, as local residents and historians believe they housed a number of railroad workers. Census records document numbers of railroad workers living in close proximity in the town, suggesting that these assumptions are correct. They remain as a small cluster of early residences that face an ever-increasing threat of encroachment by commercial development.