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Impressions at the Annual Meeting 2018 of the World Economic Forum in Davos, January, 2018
Copyright by World Economic Forum / Faruk Pinjo
i took this photo while wandering round the depths of durham cathedral... before being asked to stop taking photographs! i got told off by one of the officials!
Baghdad Pavilion Ceiling, Topkapi Palace, Istanbul, Turkey
Best viewed Large on Black
According to Wikipedia, The Baghdad Pavilion or Kiosk is situated on the right side of the terrace with a fountain and was built to commemorate the Baghdad Campaign of Murad IV after 1638. It closely resembles the Yerevan Kiosk and the three doors to the porch are located between the sofas. The façade is covered with marble, strips of ornate stones. The marble paneling of the portico is executed in Cairene Mamluk style while the interior is an example of an ideal Ottoman room. The recessed shelves and cupboards are decorated with early 16th-century green, yellow and blue tiles. The blue-and-white tiles on the walls are copies of the tiles of the Circumcision Room, right across the terrace. With its tiles dating to the 17th century, mother-of-pearl, tortoise-shell decorated cupboard and window panels, this pavilion is one of the last examples of the classical palace architecture. The doors have very fine inlay work. On the right side of the entrance is a fireplace with a gilded hood. In the middle of the room is a silver charcoal stove, a present of King Louis XIV of France. From the mid-18th century onwards, the building was used as the library of the Privy Chamber.
The Topkapi Palace (or Topkapı Sarayı) was the primary residence of the Ottoman Sultans for approximately 400 years (1465-1856) of their 624-year reign. As well as a royal residence, the palace was a setting for state occasions and royal entertainments. It is now a major tourist attraction and contains important holy relics of the Muslim world, including Mohammed's cloak and sword. The Topkapı Palace is among the monuments contained within the "Historic Areas of Istanbul", which became a UNESCO World Heritage Site in 1985, and is described under UNESCO's criterion iv as "the best example[s] of ensembles of palaces [...] of the Ottoman period.". The palace complex consists of four main courtyards and many smaller buildings. At its peak, the palace was home to as many as 4,000 people, and covered a large area with a long shoreline. It contained mosques, a hospital, bakeries, and a mint. Construction began in 1459, ordered by Sultan Mehmed II, the conqueror of Byzantine Constantinople and was originally called the New Palace to distinguish it from the previous residence. It received the name "Topkapı" (Cannon Gate) in the 19th century, after a (now lost) gate and shore pavilion. The complex was expanded over the centuries, with major renovations after the 1509 earthquake and the 1665 fire. Following the end of the Ottoman Empire in 1923, Topkapı Palace was transformed by a government decree dated April 3, 1924 into a museum of the imperial era. The Topkapı Palace Museum is administered by the Ministry of Culture and Tourism. The palace complex has hundreds of rooms and chambers, but only the most important are accessible to the public today. The complex is guarded by officials of the ministry as well as armed guards of the Turkish military. The palace includes many fine examples of Ottoman architecture. It contains large collections of porcelain, robes, weapons, shields, armor, Ottoman miniatures, Islamic calligraphic manuscripts and murals, as well as a display of Ottoman treasures and jewelry.
Baghdad Pavilion Ceiling, Topkapi Palace, Istanbul, Turkey
El Palacio de Topkapi (Topkapı Sarayı)
İstanbul, Türkiye
The impressive ceiling of the Parish Church of Saint John-at-Hampstead. This is definitely the best church I've been in so far (not that I've been in very many!)
Hertfordshire GOC's 9 February 2013 walk, which took place in Hampstead, London. We passed various interesting buildings in the area and various parts of Hampstead Heath. It was a fairly wet, dull day. I took lots of photos on the walk so please check out the other photos in the set!
Anime Central 19 - May 20-22, 2016
Donald E. Stephens Convention Center
Hyatt Regency O'Hare, Rosemont, IL
Photography © Philip Moyer
Ceiling of the Arin Baptistry (Battistero degli Ariani).
Built in the 5th Century by Theodoric the Great.
The mosaics are in very good condition.
The ceiling of the Hypostyle Hall at Dendera Temple is enriched with an incredible amount of figurative detail carved in low relief and painted in subtle shades against a blue background. The subjects include numerous deities and hybrid figures (some familiar, others much less so) and even astrological elements, such as recognisable figures from the zodiac.
Over the centuries the ceiling had become so darkened by dirt and soot to become heavily obscured and hard to read, and this is how I saw it for the first time in the 1990s, when many visitors probably missed it altogether. Now it has been fully cleaned and restored it shines again not only as one of the glories of the temple but one of the most remarkable surviving decorative schemes of ancient Egypt. The contrast with its previous blackened, unrestored condition is dramatic, giving an entirely different impression from our previous visit.
The Temple of Hathor at Dendera is one of Egypt's best preserved and most beautiful ancient shrines. This magnificent edifice dates to the Ptolemaic period, late in Egyptian history, though the site long had been the cult centre for the goddess Hathor for centuries before (the earliest extant remains date to c360BC but a temple is recorded here as far back as c2250BC). Most of the main building dates to the reigns of the last Cleopatras and further decoration and building work within the complex continued in the Roman period up to the reign of Trajan.
The dominant structure in the complex is the Temple of Hathor, an enormous structure with a rectangular facade punctuated by the Hathor-headed columns of the hypostyle hall within. This hall is an architectural wonder, a masterpiece of ancient Egyptian design and decoration, which covers every surface and has been recently cleaned, revealing a superb astrological ceiling in all its original vibrant colours.
Sadly there was much iconoclasm here during the early Christian period and most of the reliefs of the walls and pillars have been defaced. Worse still is the damage to the 24 Hathor-head capitals: not one of the nearly a hundred huge faces of the goddess that once smiled down on this hall has been left unblemished, most with their features cruelly chiselled away.
The main temple building is otherwise structurally intact, and extends into further halls and chapels beyond, again with much relief decoration (much of which is again defaced). In one corner is an entrance to a crypt below, an unusual feature in Egyptian temple architecture consisting of several narrow passages adorned with carved relief decoration in good condition.
There are further sanctuaries and chapels above on the roof of the temple, accessed by a decorated staircase and including the room where the famous Dendera Zodiac was formerly located (today its place in the ceiling taken by a cast of the original, now displayed in Paris). The highest part of the roof complex is no longer accessible to tourists, but I can still recall making the ascent there on our first visit in 1992.
Several other buildings surround the main temple, the most impressive of which is the mammisi or 'birth-house'. This consists of a large rectangluar hall surrounded by a colonnade near the entrance to the site and has some well preserved relief decoration on its exterior. Most of this structure dates to the Roman period, but the ruins of its predecessor built under Nectanebo II (Egypt's last native pharoah) stand nearby.
Dendera temple is one of the most rewarding in Egypt and shouldn't be missed. It is one of the most complete and evocative ancient monuments in the country and its recent restoration has revealed a surprisingly extensive amount of colour surviving within (we were amazed by the dramatic contrast with the soot-blackened ceiling we'd beheld on our previous visit in the 1990s). Despite its relative youth (in Egyptian terms at least!) it is easily one of my favourite sites in Egypt.
REAL CONVENTO DE SANTO DOMINGO
Pza. de Tetuán 22
El antiguo Convento de Predicadores de Valencia fue, desde los siglos XIII a XVIII, el principal de la ciudad. Desde la exclaustración de la comunidad de dominicos, hecho que sucedió hace más de ciento cincuenta años, fue destinado a CapitanÃa General (1842), realizándose algunas obras de adecuación a cargo del arquitecto Jorge Gisbert. Ahora es el Cuartel de la Fuerza de Maniobra. Su interés como sitio histórico es considerable. El antiguo convento fue fundación de Jaime I, morada de San Vicente Ferrer y de San LuÃs Bertrán, importante foco religioso y cultural, protegido y visitado por los reyes de Aragón y por los de la casa de Austria ademas de repetida sede de las Cortes del Reino de Valencia y de las españolas durante los años de la República. A la plaza de Tetuán se abre el frente dieciochesco del Convento, de aspecto palaciego pero anterior a la exclaustración. Junto a ésta se presenta la fachada renacentista de la iglesia, cuya traza habrÃa sido enviada desde la corte de Felipe II, y un atrio porticado por el que se accede a la iglesia conventual, construida en 1382 y demolida en el s. XIX. Únicamente pervive el tramo de los pies, con el revestimiento ejecutado por Francisco Padilla (1692-1695) y la portada de finales del XV, obra documentada de Pere Compte. A la izquierda de la entrada se conservan los restos de la capilla del Rosario, obra del mismo Compte finalizada en 1514, y a la derecha la Capilla de San Vicente, obrada en 1460 por Francesc Baldomar y reformada entre 1772 y 1781 según proyecto de José Puchol. Perpendicularmente a ésta se encuentra la Capilla Real, obra precursora de la estereotomÃa moderna realizada por Baldomar entre 1439 y 1463 para el enterramiento de Alfonso el Magnánimo. Además de las sobrias bóvedas aristadas, son notables dos puertas interiores resueltas en esviaje que dan paso a la sacristÃa, y la doble escalera helicoidal, con una espiral dentro de otra en los primeros tramos, y un caracol de ojo abierto en los últimos. Esta escalera permite el acceso independiente a un espacio para el reservado eucarÃstico y a la terraza. Destacan también la sillerÃa renacentista, el retablo con tablas flamencas y el sepulcro de los marqueses de Zenete, labrado en Génova. En el interior del recinto se conserva el interesantÃsimo claustro gótico con tracerÃas en uno de sus lados y varias capillas funerarias, donde el maestro Joan Franch experimentarÃa hacia 1380 la construcción de bóvedas tabicadas. El aula capitular, construida entre 1310 y 1320, con esbeltÃsimos soportes de los que parten las nervaduras de las bóvedas a modo de palmeras. En su interior se conserva el doble sepulcro de los Boil, uno de los escasos conservados en Valencia. También se conserva el refectorio del siglo XVI.
Texto extraido de la "Guia de Arquitectura de Valencia" CTAV 2007.
Through the generosity of the webmaster of Evergreenfleet.com (who graciously provided more than a half dozen photos of the Kalakala's main engine room), I have now been able to complete *most* of the Kalakala's main engine room details.
There are still some incomplete areas. These incomplete areas are due to a lack of available views into a certain area and a lack of research material available. For instance, in the first rendering there are large copper pipes leading up to a series of large electric pump motors from under the engine room floor.
Since the last upload, I examined some of those photos and determined there were two large tanks there, with a central Y valve leading off of the main piping assembly from both tanks.
I've modeled this area as accurate as possible given technical research limitations.
Ä°znik YeÅŸil Cami
İznik'in sembolü olan Yeşil Cami,adını yeşil çinili ve tuğlalı minaresinden almış. Caminin yapımını Çandarlı Hayrettin Paşa 1378 yılında başlatmış, ölümü üzerine oğlu Ali Paşa 1391 yılında tamamlatmış. Mimarı Hacı Musa. Osmanlı döneminin tek kubbeli camileri arasında en görkemlilerinden. Son cemaat yeri sütunlu ve ayaklı. Tonozları,ajurlu korkulukları zengin mermer işçiliğine sahip. Uzunlamasına dikdörtgen biçimindeki iç mekanı kubbe ve tonozlarla örtülü. Kubbesi 10.5 metre çapında ve kurşunla kaplı. Mihrabı mermer işlemeli. Eşsiz minaresi caminin sağ köşesinde. Gövdesi mavi ve yeşil renkli çinilerle zigzaglı mozaik tekniğiyle bezenmiş...
Fotoğrafların Orjinal boyutlarının temini ve kullanımı için Sinan Doğan ile iletişim kurunuz...
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