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Warsaw's mixture of architectural styles reflects the turbulent history of the city and country. During the Second World War, Warsaw was razed to the ground by bombing raids and planned destruction.[39] After liberation, rebuilding began as in other cities of the communist-ruled PRL. Most of the historical buildings were thoroughly reconstructed. However, some of the buildings from the 19th century that had been preserved in reasonably reconstructible form were nonetheless eradicated in the 1950s and 1960s (e.g. Leopold Kronenberg Palace).[51] Mass residential blocks were erected, with basic design typical of Eastern bloc countries.
Public spaces attract heavy investment, so that the city has gained entirely new squares, parks and monuments. Warsaw's current urban landscape is one of modern and contemporary architecture.[52]
Wooden arch between the main dining and reception rooms in the Maison des Médecins aka Maison des Métiers or Maison Dr Bastin (1908)
rue Léon Bernus 40
B-6000 Charleroi
BELGIUM
Now attributed to arch. François Giuannotte aka Guiannotte (BE, Fleurus 1843 - Charleroi 1914), most important Art Nouveau architect in Charleroi (according to recent research);
before, Alfred Machélidon was believed to be the architect
The house of Dr. Jean-François Bastin (1867-1947) is generally known as "la Maison des Médecins" (house of the doctors) or Maison des Métiers (House of the Crafts). It was the private home of one of the first radiologists in Belgium, a man passionate about art and architecture and an artist at heart himself.
Having practiced first in Dampremy at the start of his career, he builds this house in Charleroi where he will spend the rest of his life. His son, Franz, a doctor as well, will live there till his death in 1958.
The house (listed since 1994) possesses a richly decorated facade in the Belgian Art Nouveau style , mixing several materials. We can see red and yellow brickwork, sculpted Belgian blue stone, painted wooden window frames, bas-reliefs in white plaster, forged iron elements and stained glass windows.
Amongst the decorative panels are medallion reliefs with representations of artisans (e.g. a painter) as a homage to traditional skills whose savoir-faire is put to use in the architecture of the house.
These representations are significant of the spirit of the Art Nouveau movement that pushed for the return to artisanship as a counter reaction to the use of serial production work typical of the industrial age.
The house is one of the most grand dwellings erected in the new northern residential quarters of the upper-town of Charleroi beginning of the XXth C. It was established on the remnants of the fortifications built by the Dutch to extend the existing Vauban designed fortress dating back to the Louis XIV, the "Roi-Soleil" or Sun-King of France.
The interior is a bit eclectic, with Beaux-Arts plaster ceilings while the walls have ornate wooden paneling, beautifully crafted doors with hand-painted floral motifs mimicking in-laid marquetry, a majestic and elegant arch in curved wood and a striking stained glass conservatory at the back of the house. The main hall and vestibule are covered in white veined marble walls and floors and the house has beautiful wooden parquet floors in the adjacent rooms.
The upper floors are simpler and have wooden doors painted in faux-bois as to resemble more luxurious wood types. Simple wooden planks were once covered with carpets.
© picture by Mark Larmuseau
Eglise romane Saint Sigismond ; commune de Rivolta d'Adda, province de Crémone région de Lombardie, Italie
Les photographies de Saint-Sigismond antérieures à la restauration du début du siècle, révèlent une façade dont la partie inférieure présentait quelques analogies avec celle de Saint-Simplicien de Milan et celle de Saint-Pierre au ciel d'or de Pavie. Comme dans ces deux églises, en effet, la paroi était scandée par trois arcatures qui renfermaient les trois portails : celui du centre était haut et large, ceux des côtés plus petits et étroits. L'hypothèse de la présence d'un atrium, bien que probable, n'était établie par aucun autre élément. Malgré cela les restaurateurs décidèrent d'inventer un narthex appuyé à la façade : c'est celui qui, de nos jours, donne accès à la basilique. Il comprend trois travées couvertes de croisées d'ogives qui reflètent les proportions des nefs internes. Arcades et piliers sont en pierre, alors que la maçonnerie est en briques disposées en opus spicatum selon les lits horizontaux. Le profil reprend celui, tripartite, de la façade de l'église; la ligne des rampants de la partie centrale de l'atrium se prolonge par ceux des côtés de l'église et tous les profils sont marqués par un motif d'arcs entrelacés, réalisés sur la base de quelques traces d'un décor de ce genre présent sur le flanc Nord. Le côté méridional de l'église est peu visible en raison des constructions qui y sont adossées; au côté septentrional, sur lequel on remarque de robustes contreforts émergeant des nefs latérales, se trouve adossée la tour, à la hauteur du chœur; la partie supérieure de cette dernière est visiblement postérieure à l'église, tandis que la partie inférieure paraît plus ancienne et offre des points de comparaison, dans son type de maçonnerie, avec le clocher des chanoines de Saint-Ambroise. La partie absidale, de même que la façade, a été l'objet des interventions les plus importantes au cours des restaurations de ce siècle. Celles-ci l'ont libérée des édifices qui lui étaient accolés et elle est désormais visible sous tous les angles. Elle présente trois absides dans lesquelles se révèle, avec plus de lisibilité, l'appareil en opus spicatum ,qui est une des caractéristiques les plus saillantes de l'église. L'abside centrale, ample et majestueuse, est divisée en cinq compartiments par des demi-colonnes de pierre qui s'achèvent par un chapiteau, sur lequel prend appui une série d'arcatures aveugles au nombre de quatre par compartiment. Immédiatement au-dessous de celles-ci s'étend une galerie constituée par une succession d'ouvertures couvertes par une voûte en berceau, soutenue par des colonnes de pierre à chapiteaux sculptés. Les proportions et la disposition semblent plus proches de la loggia absidale de Saint-Michel de Pavie que de celle de Saint-Fidèle de Come; cependant, par rapport au modèle de Pavie, on trouve ici une plus grande profondeur des ouvertures et par suite une recherche plus poussée des contrastes d'ombre, alors qu'à Pavie c'est l'élément linéaire qui domine. Sur la paroi située au-dessous de la galerie s'ouvrent cinq fenêtres munies d'arcs, toutes reconstruites à une époque récente : même pour ce détail, il est utile de comparer avec les photographies prises avant restauration; celles-ci montrent que les trois fenêtres centrales étaient obturées et que dans les compartiments des extrémités se trouvaient placées deux petites fenêtres rectangulaires, datant peut-être du XVIIIe siècle. En restaurant, on ouvrit les fenêtres centrales et l'on aligna leurs formes et leurs dimensions sur celles des extrémités; à notre avis toutefois il est probable qu'originellement seules existaient les trois ouvertures centrales. Les absidioles latérales sont passablement plus petites, elles reprennent le schéma des colonnettes adossées divisant la surface et se terminent, comme l'abside centrale, sur un faisceau d'arcatures. Dans le compartiment du centre s'ouvre une étroite ouverture, simple, œuvre, elle aussi, des restaurateurs. Une particularité intéressante de l'église consiste dans l'absence de tour-lanterne, fait rare dans les édifices lombards. Nous verrons plus loin quelle solution de couvertures fut adoptée à l'intérieur, au lieu et place de la coupole; à l'extérieur on remarque, au niveau de la troisième travée, un abaissement notable de la hauteur du toit de la nef centrale qui en arrive presque à se raccorder avec celui des bas-côtés. Encadrant l'abside se dresse un fronton au niveau même du toit des travées antérieures. Dans ce fronton est ouverte une fenêtre cruciforme, destinée probablement à l'aération des combles ; en ce cas il faudrait en déduire que l'on avait prévu originellement une couverture de la région du chœur différente de celle qui fut adoptée en définitive. Il est difficile de deviner les raisons de cette décision; ... Il ne paraît pas improbable que la construction de l'église ait connu diverses interruptions et reprises, peut-être même des aménagements tenus, qui sait, pour provisoires et qui sont devenus définitifs par la force des choses.
INTÉRIEUR
L'église comprend trois nefs comme Saint-Ambroise dont elle respecte fidèlement les proportions quant à la largeur, mais sans recourir à l'élément essentiel que constituent les tribunes dans l'édifice milanais. Le premier fait qui frappe en entrant est l'atmosphère de pénombre, accrue par le crépissage grisâtre mais due, dès l'origine, aux proportions de l'espace interne et des fenêtres. Les voûtes sont plus basses que celles de Saint-Ambroise et prennent appui sur des piliers massifs de pierre à larges chapiteaux sculptés. Sept fenêtres simples sont ouvertes sur la nef centrale; elles sont situées immédiatement sous les voûtes, deux sur chaque côté des deux premières travées, à l'exception de la première à droite où il n'y en a qu'une. Leur dimension limitée ne permet pas toutefois à la lumière de pénétrer avec abondance. Un autre caractère inexplicable de ces fenêtres est d'être toutes différentes l'une de l'autre. D'autres fenêtres s'ouvrent sur les bas-côtés, mais la lumière qui passe par elles ne franchit pas la limite de ces bas-côtés, trop larges pour lui permettre d'aboutir jusqu'à la nef centrale. On retrouve donc ici les données du problème signalé à Saint-Ambroise, à cette différence toutefois que les fenêtres de Rivolta sont plus petites que celles de Milan. Le point qui, dans cette église, a toujours retenu l'attention des spécialistes est celui des couvertures : elles présentent ici trois types différents et dans un si petit édifice le fait mérite d'être signalé. La nef centrale est divisée en trois travées dont les deux premières sont couvertes de voûtes à croisées d'ogives, aux nervures côtelées, issues de piliers massifs en faisceaux. Ces nervures sont grosses et à section rectangulaire. L'analyse des matériaux utilisés, effectuée par Nava avant restauration, a révélé un certain empirisme dans la construction. Les voûtes sont constituées en effet de matériaux de déblai les plus divers, répartis sans calcul précis; en outre elles atteignent à des épaisseurs assez grandes, jusqu'à cinquante centimètres à la clef, mais le fait le plus intéressant est que l'ensemble des arcs de soutien - les quatre externes et les deux transversaux - de chaque travée est pratiquement indépendant de la maçonnerie de la voûte, en sorte qu'entre celle-ci et les nervures existe un interstice. Par rapport à Saint-Ambroise, la maîtrise technique de la construction des voûtes est donc nettement moins grande, ce qui rend à notre avis improbable l'hypothèse selon laquelle l'église serait l'œuvre d'ouvriers milanais, comme l'a suggéré certain archéologue, à moins qu'il ne s'agisse là du projet initial : toutefois l'exécution semble être ici, indiscutablement, l'œuvre de constructeurs locaux. Les bas-côtés présentent un mode de couverture à voûtes d'arêtes en forme de coupole, qui rappelle celle des bas-côtés de Saint-Michel. Le troisième type de couverture utilisé à Saint-Sigismond est celui de la troisième travée de la nef centrale, qui consiste en une voûte à berceau renforcée par trois arcs-doubleaux. Comme ceux-ci sont placés à la même hauteur que ceux qui supportent les croisées d'ogives, l'élévation de cette voûte est moindre que celle des deux travées qui la précèdent et ceci engendre une impression étrange de manque d'unité organique de l'ensemble. En effet cette partie qui, dans les églises lombardes de cette époque, accueille la lumière venant de la tour-lanterne et incite le visiteur à porter son regard vers l'impétueux élan de la coupole, se trouve ici comme comprimée, retenue. Il semble qu'on ait voulu insérer un schéma longitudinal continu dans un organisme qui avait déjà amorcé un rythme différent dans les deux travées précédentes, mais l'on ne peut pas dire que le résultat soit harmonieux. Un autre élément intéressant de comparaison avec Saint-Ambroise est celui des supports. Le schéma en est, en effet, identique - piliers alternés supportant voûtes de la nef centrale et voûtes des bas-côtés -mais la réalisation formelle présente des caractères différents tant dans la structure architectonique que dans la partie décorative. Les piliers de Saint-Sigismond apparaissent nettement plus massifs que ceux de Saint-Ambroise, bien qu'ils aient à supporter une charge moindre; les piliers ambrosiens en outre sont plus soignés dans leur rapport avec leur fonction réelle : chaque composante de leur structure est justifiée par une fonction de soutien, soit des arcs latéraux, soit des nervures, soit des arcs longitudinaux; à Saint-Sigismond, au contraire, la structure des piliers a été établie sans penser à leur rapport avec la maçonnerie que ceux-ci devaient soutenir : cela apparaît clairement dans les plus petits piliers, construits en faisceaux complets qui comportent une demi-colonne, du côté de la nef centrale, sans aucun rôle architectonique; par suite leur élan s'interrompt au niveau du chapiteau.
SCULPTURE
Les chapiteaux de Saint-Sigismond constituent l'un des plus beaux répertoires de toute la sculpture romane lombarde et, avec ceux de Saint-Ambroise et de Saint-Michel de Pavie, témoignent de la présence d'une école de sculpture du Pô inférieur, rivalisant avec la comasque. Le schéma des cycles est presque identique à Rivolta et à Milan : les mêmes thèmes s'y retrouvent souvent. A ce sujet il faut dire que les études les plus récentes ont émis de forts soupçons sur l'authenticité d'une grande partie du cycle de Rivolta, en s'appuyant sur un devis de restauration de Nava dans lequel figurent jusqu'à trente-six demi-chapiteaux à refaire ! Ceux-ci auraient été copiés également sur des modèles de Saint-Ambroise et ainsi s'expliquerait la correspondance quelquefois absolue des sujets. En dépit de cette lourde hypothèque il ne semble pas juste de classer sans autre le cycle de Rivolta en lui déniant toute valeur, même dans ses parties authentiques ; on peut encore retrouver, en effet, l'esprit originel de cet ensemble, bien que celui-ci ne subsiste plus qu'en quelques rares éléments. Là où, à Milan, se ressent la présence d'un calcul géométrique rigoureux qui détermine un équilibre savant des creux et des reliefs et un jeu d'ombres et de lumière, capable de rudesse mais aussi de délicatesse dans le traitement des surfaces, à Rivolta le sujet se dilue dans le riche apparat décoratif qui l'entoure et émerge d'un contexte déjà fortement marqué de clartés et d'ombres, accusant encore davantage les contrastes de lumière. Nous trouverons cette tendance développée dans les chapiteaux de Saint-Michel de Pavie. En outre, à la structure narrative rigide de l'ensemble milanais, qui éprouve, à cause de cela, une prédilection pour les amples déploiements horizontaux des thèmes, s'oppose ici une ordonnance plus complexe, basée sur la superposition de plans divers et sur la recherche délibérée d'un jeu de lignes et d'oppositions plus libre, moins inscrit dans des constructions géométriques.
(extrait de : Lombardie romane ; Sandro Chierici, Ed. Zodiaque, Coll. La nuit des Temps, 1978, pp. 97-113)
Coordonnées GPS : N45.47077 ; E9.512526
Foreign Restaurants in the old town.
Variety really is the spice of life when you're visiting Amsterdam. This city has enjoyed a rich and turbulent history, and so much of it can be seen in the old center where history, sex, education, and religion are all well represented.
Dam Square is a useful landmark bridging the older (east) and newer (west) sides of the center. From here you can head off to worship naval heroes in the Nieuwe Kerk or, for some retail therapy, pop into the De Bijenkorf (which lives up to its name—the beehive—during big sales). The core of the oldest part of the city is Amsterdam's most famous area, the Red Light District, known locally as de Wallen, with the Ouderkerk, its oldest church, bang in the middle. Business in the two main canals and narrow alleyways leading off them is conducted against an implausibly scenic backdrop (porn emporiums and coffee shops at ground level, gables on the top) with atmospheric views from the bridges. (Although this is relative; there's no comparison with the non-red-light-district leafy environs of the southern sections of these same canals below the Damstraat). Its eastern perimeter is Zeedijk, which leads from Centraal Station through Amsterdam's little Chinatown. There's a bit more in Gelderskade and Nieuwmarkt, where the street opens up into a vibrant square packed with cafés and dominated by the hulking presence of ex-weigh house and medieval gateway, De Waag.
Heading southwards along the Kloveniersburgwal is a rewarding wander with diversions on both sides of the water: Look for churches, chapels, attractive canals, and some notable historic buildings that today house departments of the University of Amsterdam. Farthest west, running parallel to Rokin, is theater district Nes; heading east is the Old Jewish Quarter, which includes the synagogue complex of the Joods Historisch Museum, Amsterdam's most famous flea market behind the Muziektheater/City Hall complex on Waterlooplein, and behind all that, the Rembrandthuis. But if you get lost, even the worst student of foreign languages can easily get help by asking for "The Dam."
Cumhuriyet Halk Partisi Genel Başkanı Kemal Kılıçdaroğlu, Berlin'de
Yeşiller Partisi Genel Merkezi'ni ziyaret ederek Eş Başkan cem Özdemir,
Claudia Roth ve parti yöneticileriyle görüştü.
Görüşmede Genel Başkan Yardımcıları Öztürk Yılmaz, Çetin Osman Budak ve
Selin Sayek Böke de hazır bulundu.
Milledgeville is a city in and the county seat of Baldwin County in the U.S. state of Georgia. It is northeast of Macon, located just before Eatonton on the way to Athens along U.S. Highway 441, and it is located on the Oconee River. The rapid current of the Oconee River here made this an attractive location to build a city. It was the capital of Georgia from 1804 to 1868, notably during the American Civil War. Milledgeville was preceded as the capital city by Louisville, and it was succeeded by Atlanta, the current capital.
The population of the town of Milledgeville was 18,757 at the 2000 census.
Two events epitomized Milledgeville's status as the political and social center of Georgia in these years. The first was the visit to the capital in 1825 by the American Revolutionary War (1775–83) soldier the Marquis de Lafayette. The receptions, barbecue, formal dinner, and grand ball for the veteran apostle of liberty seemed to mark Milledgeville's coming of age. The second event was the construction (1836-38/39) of the Governor's Mansion, one of the most important examples of Greek revival architecture in America.
On January 19, 1861, Georgia convention delegates passed the Ordinance of Secession, and the "Republic of Georgia" joined the Confederate States of America, to the accompaniment of wild celebration, bonfires, and illuminations on Milledgeville's Statehouse Square. Three years later, on a bitterly cold November day, Union general William T. Sherman and 30,000 Union troops marched into Milledgeville. When they left a couple of days later, they had ransacked the statehouse; vandalized the State Chapel by pouring honey down the pipes of the organ and by housing cavalry horses in the church; then destroyed the state arsenal and powder magazine; burned the penitentiary, the central depot, and the Oconee bridge; and devastated the surrounding countryside. In 1868, during Reconstruction, the legislature moved the capital to Atlanta—a city emerging as the symbol of the New South as surely as Milledgeville symbolized the Old South.
en.wikipedia.org/wiki/Milledgeville,_Georgia
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
308 Main St, Burlington, Vermont USA • Architect Alfred Benjamin Fisher designed and built many structures in the Burlington area during the latter half of the 19th century … He was the first true architect to practice extensively in the area (esp. 1875 - 1895). …
This dwelling he designed and built for himself in 1884 … is one of the most singular residences in Burlington. Two main blocks constitute the major house form: a hip roofed central mass and a gable front mass projecting from the east of the central block facade. the picturesque massing is further emphasized by a three-story, engaged hexagonal tower with bellcast roof at the west rear of the building. Shed roof dormers on the east and west hip roof slopes, and entry porches on the front and side, contribute yet more to the unprecedented form. The roof, composed of alternating bands of fish scale and square cut slate tiles, contrasts with the hip roof which is finished with a "sawtooth and scrolls" metal cresting. A metal finial tops the tower peak. Two wall panels flanking the window directly below are stuccoed and decorated with applied nuts, bolts, and nails in imitation of medieval parquetting.
☞ For some dates & historical details, I am indebted to the Chittenden County Historical Society, and their fine, three volume set: Historic Guide to Burlington Neighborhoods: Vol. I, 1991; Vol. II, 1997; Vol. III, 2003. David J. Blow, author; Lillian Baker Carlisle, Editor; Sarah L. Dopp, photographs.
☞ This building is one of 63 contributing structures of the 470 acre Main Street - College Street Historic District, and has been listed on the National Register of Historic Places (#88001850), since October 13, 1988.
• More Info: GeoHack: 44°28′44″N 73°12′22″W.
☞ Part of my Slate Survey set.
Castle Tower - The octagonal upper tower from the time of the Renaissance castle (1607) - (1612) the square basement of the medieval castle tower (14th century) was put on and in the 18th Century provided with a balustrade platform.
Schlossturm - Das achteckige Turmoberteil aus der Zeit des Renaissanceschlosses (1607) - (1612) wurde dem quadratischen Sockelgeschoss des mitteralterlichen Burgturmes (14. Jahrhundert) angesetzt und im 18. Jahrhundert mit einer Balustradenplattform versehen.
Stadtschloss City Palace
Main entrance of the City Palace
(further pictures you can see by clicking on the link at the end of page!)
View from the south tower of the Cathedral of Fulda
The baroque Stadtschloss City Palace was built in 1706-1714 by Johann Dietzenhofer as residence of the prince-abbots of Fulda and later the prince-bishops.
Architectural History
The first predecessor of the Fulda City Palace was a Abtsburg (abbot castle) that at the beginning of the 14th Century was built. Later on the castle was at the beginning of the 17th Century rebuilt into a palace resort, which was converted and expanded in the last quarter of the same century into a Renaissance chateau. This plant was by Johann Dietzenhofer at beginning of the 18th Century rebuilt in the Baroque style. When it was remodeled into a Kurprinzenresidenz (electoral prince residence) at beginning of the 19th Century, the castle was partially rebuilt in the style of late Classicism.
Abbot castle
Heertor (army gate) on the city side of the City Palace, from it one went by at the Abtsburg, out of the city to get to the "High Street" Frankfurt -Leipzig
The first predecessor of the Fulda city palace was a town castle, which was first mentioned as a new castle at the end of the term of office of Prince Abbot Henry V of Weilnau. The exact construction of the castle is not known, there are even only few traditions allowing conclusions to its floor plan.
Henry V probably took a quarrel with his Convention on the distribution of the monastery revenue as a reason to build his residence outside the monastery new. The monastery dean, who had already taken over many tasks within the abbot of the monastery, took over the former Abtswohnung (abbot residence) in a monastery on the site of today Domdechanei (cathedral deanery). Henry V chose for the castle a strategic location between the monastery and the town. He also paid attention to a location on a hill in order to defend the new castle easily. The castle represented the increased power of the abbots, it served therefore to represent and for a better defense.
After excavations between 1979 to 1982 in what is now the main courtyard and the ground below the present central building you know that the southwestern part of the rectangular fortress was located on today's Court of Honor. There one found grave retaining walls, the basement of a southern round tower (probably the keep) and fragments of the battlements and the grave bridge. The castle was a bastion according to existing sources, which simultaneously served the city's defense as the circular wall of the castle in the north at the same time was the city wall. Towards to the city the castle was securised with a circular wall, the above already mentioned tower and a moat.
Not later than in the 16th Century, the castle was secured to the southwest towards the city with three fortifications, and as an additional defense served a bailey. The castle had in the northwest a second gate in the city wall (Heertor), through which the access to the castle was secured without you needed to enter the city. The only known pictorial representation of this castle is available on a woodcut from 1550. On this the Ostvedute (east vedute) of the city is represented, one also recognizes the northeastern flank of the castle .
Palace buildings
First Castle
Garden front of the City Palace. The square base of the castle tower still stems from the Abtsburg, the octagonal upper part dates from the Renaissance castle
The increase in power and the related increased need for representation of the abbot was then at the beginning of the 17th Century probably the cause for the conversion of the residence to a palace.
Between 1607 and 1612 the castle was converted into a four-winged castle involving a few buildings of the old castle. So the Palas of Abtsburg with its foundations is still contained in the central projection of the present castle. The appearance of the by Winter built castle can only by three drawings (of 1669, 1704 and 1705) and the above-mentioned excavations being elicited. Accordingly, the four unequal three-story wings were in its interior forming an irregular rectangular courtyard. With two circular stair towers the transition of the side wings to the main wing was created, whose roof was higher than the other tracts. The building was kept architecturally simple. One exception was the gable decorations on the narrow sides and the outer facade of the main wing. It was flanked by two towers, and in its center was a terrace-like stem with gate entrance. In the two-story risalit above the gate entrance there was probably the chancel of the chapel. It had gables, as they were common in secular buildings, but laterally two pointed arch tracery windows were mounted, as they were common in religious buildings.
Renaissance Castle
Copper engraving of the Renaissance castle
As Abbot Bernard Gustav von Baden-Durlach in 1671 took office, he yet planned a year later the extension of the residence. He began the construction of a new two-story wing on the west side of the four-winged construction. However, this wing was only completed in 1681-1683, as Abbot Placidus von Droste the construction finished with plans of his own.
The goal was to build a presumably closed facade towards the animal or pleasure garden. Accordding to a drawing of 1705 this side tract, in the direction of the garden, was subordinated under the four-winged construction. The western tower was in this facade now placed in the middle.
Baroque castle
Prince Hall, nowadays boardroom of the City Council
Orangery
A further extension began in 1706 under Prince-Abbot Adalbert I of Schleifras who commissioned Johann Dietzenhofer with the planning of the new palace. According to existing sources, Dietzenhofer designed thereby his first secular building. The foundation stone was laid on 26 March 1708. To the four-winged building was set another new wing, which was oriented towards the city. Thus, the Court of Honor was created, further on he rebuilt the rest of the castle in the style of Baroque. Since Dietzenhofer went back to Bamberg in 1711, it is likely that this work was largely completed at this time. Until 1713 the renovation work at the central section and in the north wings were finished. The interior work went on till the late of 1714. These included in particular the work on the main staircase and the stairways in the main courtyard (Ehrenhof), which were built by Hans Georg Mainwolff, former foreman of Dientzenhofer. The death of the abbot in 1714 had the consequence that the construction was halted for four years. In 1719 the work was completed, because yet in 1720 many artists were present for the interior of the castle.
The system now consisted of the three-storey wing and cross wing with its two to the east built-on, in the roof area lower wings. These side wings were joined by the slightly narrower and two-story buildings of the stables who completed the courtyard to the outside. In the northern wing the tower of the Renaissance castle remained. The main wing run over the entire width of the system and dominated the palace architecturally with its steep and high hipped roof and the little protruding central projection.
In the West formed two the main wing built-on two-story side wings the main courtyard, which was completed towards the Tuesday market by pillars and in between set grids. In the middle the pillars and the grids were towards the front gate vaulted to the inside. The facades have been kept simple, and the windows showed a narrow, profiled framing. They were doubly cranked in the upper corners and finished with trapezoidal keystones at lintel.
Kurprinzenresidenz (electoral prince residence)
The baroque building remained as described above largely. When Elector Wilhelm I of Hesse the Principality took over, he had 1817 and 1818 the wings on the residence garden remodelled in late Classicist style. He commissioned with that the Oberhofbaumeister (lord court architect) Johann Conrad Bromeis. The castle was the residence of the prince-elector.
Current usage
Today, parts of the City Palace do serve as the seat of the city government.
Many of the historic rooms can also be visited and are still almost in its original state. Moreover is a large number of works of art exhibited (including paintings, stucco, porcelain). A special room is the Hall of Mirrors (also known as house of mirrors): The former dressing room of the prince-abbot is packed with hundreds of small and large mirrors.
TECU Classic Copper seam-clad roof and rainwater goods from KME.
Adam Khan Architects, London.
Installer: Roles Broderick Ltd, Chobham
Realised: Spring 2010
San Antonio, officially the City of San Antonio, is the seventh most populous city in the United States and the second most populous city in both Texas and the Southern United States. Founded as a Spanish mission and colonial outpost in 1718, the city became the first chartered civil settlement in Texas in 1731, making it the state's oldest municipality. The city's deep history is contrasted with its rapid growth: it was the fastest-growing of the top ten largest cities in the United States from 2000 to 2010, and the second from 1990 to 2000.
Straddling the regional divide between South and Central Texas, San Antonio anchors the southwestern corner of an urban megaregion colloquially known as the "Texas Triangle".
San Antonio serves as the seat of Bexar County; recent annexations have extended the city's boundaries into Medina County and, for a tiny area near the city of Garden Ridge, into Comal County. Since San Antonio was founded during the Spanish Colonial Era, it has a church (San Fernando Cathedral) in its center, on the main civic plaza in front, a characteristic of many Spanish-founded cities, towns, and villages in Spain and Latin America. As with many other Western urban centers, areas outside the city limits are sparsely populated.
San Antonio is the center of the San Antonio–New Braunfels metropolitan statistical area. Commonly called Greater San Antonio, the metro area has a population of 2,473,974 based on the 2017 U.S. census estimate, making it the 24th-largest metropolitan area in the United States and third-largest in Texas. Growth along the Interstate 35 and Interstate 10 corridors to the north, west and east make it likely that the metropolitan area will continue to expand.
San Antonio was named by a 1691 Spanish expedition for Saint Anthony of Padua, whose feast day is June 13. The city contains five 18th-century Spanish frontier missions, including The Alamo and San Antonio Missions National Historical Park, which together were designated UNESCO World Heritage sites in 2015. Other notable attractions include the River Walk, the Tower of the Americas, SeaWorld, the Alamo Bowl, and Marriage Island. Commercial entertainment includes Six Flags Fiesta Texas and Morgan's Wonderland amusement parks. According to the San Antonio Convention and Visitors Bureau, the city is visited by about 32 million tourists a year. It is home to the five-time NBA champion San Antonio Spurs, and hosts the annual San Antonio Stock Show & Rodeo, one of the largest such events in the U.S.
The U.S. Armed Forces have numerous facilities in and around San Antonio; Fort Sam Houston is the only one within the city limits. Lackland Air Force Base, Randolph Air Force Base, Lackland AFB/Kelly Field Annex, Camp Bullis, and Camp Stanley are outside the city limits. Kelly Air Force Base operated out of San Antonio until 2001, when the airfield was transferred to Lackland AFB. The remaining parts of the base were developed as Port San Antonio, an industrial/business park and aerospace complex. San Antonio is home to six Fortune 500 companies and the South Texas Medical Center, the only medical research and care provider in the South Texas region.
en.wikipedia.org/wiki/San_Antonio
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
My first shot inside the library before adjusting the white balance. However it might be wrong I loved the general blue colour in the picture and where lights are on, the WB seams to be correct there.
View downward from the upper storys of the library
Lakeside town of Aspern
Aspern Urban Lakeside (urban development project)
Logo of Aspern - Vienna's Urban Lakeside
Aspern Urban Lakeside (Vienna)
Red pog.svg
Basic Information
Bundesland (Federal state) Wien (W)
Judicial district of Donau City
District of Vienna 22. District: Donau City (KG Aspern)
♁ coordinates 48 ° 13 '33 "N, 16 ° 30' 13" O coordinates: 48 ° 13 '33 "N, 16 ° 30' 13" E | |
Height of 157 m above sea level.
Statistical identification
Image
View from the north to the urban development area Aspern Urban Lakeside, 2012
Source: STAT: Gazetteer; BEV: GEONAM; ViennaGIS
The Aspern Urban Lakeside (officially also Aspern Urban Lakeside, project name: Aspern - Vienna's Urban Lakeside) is a part of town under construction in the 22nd district of Vienna Danube city and one of the largest urban development projects in Europe of the 2010s. Over a period of around 20 years a new district should arise, in which over 20,000 people are supposed to work and to live. The first of three development stages focuses until around 2017 to the south of the part of the city.
Location
Aspern Urban Lakeside with lake, 2012
The planned seaside town is located about 7 kilometers east of the city center, on the other bank of the Danube, already on the verge of March field (gravel and stone plain in Lower Austria bordering Vienna).
The area is bounded as follows:
In the north of the Marchegger Eastern Railway, forming since 1870 the (currently operated hourly) connection between Vienna and Bratislava and long has been used by the legendary Orient Express. The here layed out traffic station Vienna Aspern Nord offers since October 2013 U-Bahn (U2) underground traffic to the center of Vienna and from 2017 S-Bahn ÖBB (line S80) suburban traffic to Vienna's main train station as well as regional trains.
To the east beyond the Josefine Hawelka pathway or the Cassinonestraße adjoin settlements of the since 1938 belonging to Vienna outskirts village of Essling.
In the south adjoins to the site an extensive factory premises of General Motors Austria, which lies at the Groß-Enzersdorfer Road (bus number 26A), connecting Aspern and Essling.
In the West adjoins beyond the Johann Kutschera alley the belonging to Aspern suburban settlement to the area.
Positions of neighboring districts:
Hirschstetten, Breitenlee, Lackenjöchl
Neuessling
Outskirts settlement, neighboring communities, Essling, Aspern
History
The area northeast of the historic village of Aspern in March field was named after a man-made lake in the center of the development area.
On the former airfield Aspern, Vienna's airport during the interwar period, by the year 2028 around 240 hectares should be developed. This corresponds to the area of 7th and 8th district of Vienna. Planned are around 10,500 homes for 20,000 people and business premises for 15,000 office jobs as well as 5,000 jobs in industry, science, research and education.
For the development and utilization responsible is the Wien 3420 Aspern Development AG, a real estate development company which in December 2004 as a subsidiary company of the Vienna Business Agency, a fund of the City of Vienna (73.6%) and the (Bundesimmobiliengesellschaft) Federal Property Association (26.4%) was established. The planning is done in consultation with the relevant municipal departments of the city administration and the Wiener Linien, the public transport company of the city of Vienna.
The former airfield Aspern in 2007; top left of the factory Opel Vienna
The first finished house in the seaside town, the aspern IQ, 2012
Construction phase of the first tranche of homes in the southwestern part of the seaside town's area (October 2013)
Construction of the first tranche (June 2014)
Urban Planning
The urban concept of the maritime city is focused on the mixing of functions - there should be no purely residential use or commercial use. In this way, a dormitory town should be avoided and during the day non-stop revival obtained. The master plan for the seaside town was created by Swedish architect John Tovatt and adopted unanimously by the Vienna City Council on 25 May 2007. Essential contents are the functional arrangement of uses and the spatial configuration of both small and large urban gestures to an urban master plan.
Public space
The geographic center of the seaside town will form a 5-acre lake, which already largely exists, in a total of 9 hectare park. The lake is fed from groundwater. The public space - thus streets, squares and parks - occupies 50 percent of the total area of urban development.
In order to make the public space for the people who will live and work in the seaside town attractive, the Danish open space planners Gehl Architects by the Wien 3420 AG and the Municipal Department 19 (architecture) with the creation of a planning manual for public space (a "score of the public space") were commissioned. The planning manual is based on the idea that public life is a precious commodity that needs to focus it. Therefore Gehl Architects particularly important axes have worked out in the seaside town. The Circular road as a major route that has received the name Sun alley, the Red chord (shopping street, culture), the Blue string (sea park and promenade) and the Green string (green spaces, recreational areas). By 2015, three parks are built, the central Marine park, the Yella-Hertzka park and Hannah Arendt park, along with 8 hectares (May 26 2014 ground-breaking ceremony).
Development phases
The construction of the seaside town of Aspern is to take place until 2028 in three stages:
Stage 1 (2009-2017): The development company Wien 3420 Aspern Development AG builds the green spaces and the technical infrastructure (roads, sewage, etc.) and thus provides the impetus for the development of the maritime city. In the first large-scale expansion in the southwestern part of the maritime city arises a mixed quarter with approximately 2,600 residential units, offices, business and service companies as well as research and development facilities. The large volume is to ensure local supply and the desired mix of uses from the start. In October 2013, the metro stations Aspern North at the northern edge of the area and Seaside town as terminus of line U2 in the south have been opened. In this stage also falls the establishment of a R & D Park (research and development). As first impulse project there emerges an Innovation Quarter (Technology Centre), for which a realization competition was launched. With the IQ aspern by 2012 a first settlement core was created.
Stage 2 (2017-2022): The Station Aspern North and the connection through a powerful city street to the A 23 motorway and the branch S 1 are completed. Other residential and mixed districts and the train station and office quarters arise.
Stage 3 (from 2022): To the train station, the shopping street and the subway route adjacent areas are further compressed, the mix of uses is further improved.
Cultural and Medial
Lighted cranes art action Kranensee, 2014
On February 15, 2014 was held on the construction site of the seaside town of Aspern the art action Kranensee - a ballet of cranes. Some of the then 42 tower swivel cranes and a concrete pump have been fitted with differently colored lights, which to specially composed orchestral music shone, 15 cranes were occupied by crane operators, who approriate for the music turned the booms.
Portrait of a worker performing reconstruction of Maly Theatre (Moscow, Russia) before the start of the new season.
I was taking some architecture photos of famous Moscow theaters- Bolshoi and Maly for my portfolio when I suddenly noticed this worker painting the building. He was busy working and I took some photos of him but they all lacked smth. And when he stopped working, took a cigarette and turned away- transforming the whole scene into smth theatrical- an old statue, a smoking man and marble pillars like centuries between them.
La iglesia tiene tres naves, separadas por columnas y grandes arcos de herradura, con sus ábsides y un crucero o transepto, que no se acusa al exterior, donde se situaría el coro, separado de la nave principal por tres arcos también de herradura (para algunos un iconostasio). Los ábsides, abovedados y con planta de herradura al interior, aparecen inscritos en un único bloque rectangular, como se aprecia en el exterior. Todos los arcos se apean sobre fustes de mármol y capiteles corintios, aprovechados de construcciones visigóticas o romanas, como se aprecia en un cimacio, labrado a partir de una lápida sepulcral, traída tal vez de la cercana ciudad romana de Lancia. Las cubiertas son de madera, estando la central decorada con pinturas del siglo XV.
Destaca, sin embargo, su pórtico meridional compuesto por doce arcos, aunque realizado en dos fases constructivas distintas: los siete arcos occidentales, con sus columnas y capiteles, de estilo califal, obra "mozárabe" del siglo X, conservando aún parte del alfiz, y los restantes, a oriente, claramente reaprovechados, pues a los capiteles les falta una de las caras, como para ser adosados a pilares o paredes.
La ornamentación esculpida de San Miguel de Escalada es muy rica, centrándose en frisos, capiteles, canceles, celosías, etc. Predomina la decoración vegetal (racimos, hojas, palmeras), aunque también existen motivos geométricos (mallas y trenzados) y zoomórficos (aves picoteando racimos de vid).
This little modernist gem is located in the historic Gracada Park area of Modesto, California. It sticks out alot from the rest of the craftsman bungelow styled houses in this neighborhood.
The Civil War Memorial, also known as the Soldier's Monument, designed by Captain John D. Howland, a prominent member of the 1st Colorado Cavalry, and molded by J. Otto Schweizer, was dedicated on July 24, 1909 on the steps of the west entrance of the Colorado State Capitol Building. The memorial depicts a 8-foot bronze figure of a Union soldier, mounted on a 10-foot granite base, adorned with four tablets that list the battles and the names of the soldiers who died. Also chiseled into the base of this grand memorial is the proud statement that Colorado had the highest average of volunteers in the Civil War of any state or territory in the Union. Another plaque on the statue refers to the discovery of gold at Pikes Peak in 1858 by Green Russell and others. The plaque on the north face of the monument simply reads, " For the Unknown Dead." Another plaque nearby focuses on the controversy surrounding the classification of Sand Creek as a battle, when many viewed it as a massacre. Originally two black walnut trees from the home of Abraham Lincoln flanked this memorial. While the trees no longer stand, there is a plaque within the capitol commemorating the generosity of President Lincoln for his donation to the beautification of our capitol.
The Colorado State Capitol Building, at 200 East Colfax Avenue, first opened for use in 1894. Designed by architect Elijah E. Myers, the four-story cruciform building, with four similar elevations, is constructed of Colorado gray granite from Gunnison County. The 24-carat golf-leaf covered dome, which rises 150-feet high commemorating the Colorado Gold Rush, was added in 1908.
The interior uses copious amounts of Colorado Rose Onyx, a rare rose marble from a quarry near Beulah, Colorado. White Yule Marble from the quarries near Marble, Colorado was also used for the floors. Important interior spaces include the rotunda with its murals by local artist Allen Tupper True, the House and Senate chambers, and the old Supreme Court chamber. Many of the windows are stained glass, depicting people or events related to the history of Colorado. The halls are decorated with portraits of every president of the United States.
The official elevation of Denver is measured outside the west entrance to the building, where the fifteenth step is engraved with the words "One Mile Above Sea Level." A second mile high marker was set in the 18th step in 1869 when Colorado State University students resurveyed the elevation. In 2003, a more accurate measurement was made with modern means, and the 13th step was identified as being one mile high, where a 3rd marker was installed.
"Maritime Theater," Hadrian's Villa, Tivoli, Italy, c. 117 - 138 C.E. This was not a theater but rather the private residence of the emperor within the approximately 250 acres that constitute the overall villa complex. Archaeologists believe that many of the structures were designed by the Emperor Hadrian who ruled from 117 until his death in 138 C.E. Tivoli is about 18 miles from Rome.
www.viennatouristguide.at/Altstadt/Brunnen/donnerbrunnen.htm
Donnerbrunnen
The Donner-Fountain in the center of New Market
Close-up view of the Providentia
Donnerbrunnen is the popular name for the by Georg Raphael Donner designed and 1737-1739 built Providentia-Fountain on the Neuer Markt in the first Viennese district Innere Stadt. The Viennese people but could not do much with the term providentia (Latin for Providence ), which is why they named it after its builder. Art historical often is also used the terminus flour market well (Mehlmarktbrunnen), as the New Market in the 18 Century still was a flour market.
Contents [hide ]
Architecture
In the middle of the fountain, Providentia, the allegory of foresight or good government, not least also refers to the good water supply of Vienna. It is surrounded by four allegorical figures representing the rivers of the Archduchy of Austria. Such a scheme is in the Mannerist and early Baroque quite popular, a well-known example is the Fountain of the Four Rivers by Bernini in Rome. The representation of flows in the form of allegorical persons was to the 19th Century an example, about the Austriabrunnen on Freyung or at the Albertina ramp.
The four flow figures represent the four ages and temperaments. The tow male figures are representing the rivers of Upper Austria, the two female ones from Lower Austria.
Traun is a youthful figure who stands with a trident for a fish at the bottom of the basin. The figure is constructed in a very dynamic manner and offers no frontal view - it looks directly into the water.
Enns is an old ferryman leaning of a rock with an oar and so symbolising the Enns as important transportation route in the Alps.
Ybbs is a standing figure of a girl with a water providing vessel.
March is a female character who is leaning against a relief (possibly the Romans against the Marcomanni) representing a battle and thus accentuating the character of the Morava River as a border.
The pedestal surrounded by four cherubs spouting water fish (pike, carp, catfish, and salmon), which serves as the actual water dispenser of the well and the Danube symbolizing. The pelvis and the base of the fountain made of Mauthausen granite.
History
New Market overlooking the Donnerbrunnen (Carl Wenzel Zajicek, 1913)
In 1737 negotiations between the City of Vienna and Donner are documented (and with Lorenzo Mattielli ). The city of Vienna appears here as the owner, which in artistic determined by the imperial family and nobility rather baroque period is exceptional.
The figures for them Georg Raphael Donner only the models created were cast by Johann Nikolaus Moll in a lead-zinc alloy and 1739, on the feast of Emperor Charles VI. positioned. Under the reign of Maria Theresa , the nudity of the figures was seen as offensive and they were in 1773 allegedly removed at the behest of chastity Commission. The sculptor Johann Martin Fischer was commissioned to melt them down but recognized their artistic value and restored it. In 1801 they were put back in their original place. 1873, the figures were replaced by bronze copies of the originals now forming the center of the baroque section of the Austrian Gallery Belvedere. During the Second World War, the Donnerbrunnen was removed and only on 30 April 1947 re-erected.
In the 1980s, the thunder fountain (Donner-Brunnen) was a popular meeting place for Viennese subculture, especially the Mod movement.