Complex Geometry in Architecture
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Buildings of the business district "Red Hills". The construction took more than ten years; as a result, a business center, concert halls, a five-star hotel appeared here.
Moscow International House of Music (building on the right) is a modern center for the performing arts, which has no analogues in Russia. This is an independent production association that organizes performances by Russian and foreign symphony orchestras, chamber ensembles, instrumental soloists, opera and ballet artists, theater, jazz, pop and folk groups.
The dome of the House of Music is crowned with an emblem in the form of a treble clef-vane 9.5 meters high; by Zurab Tsereteli. The most complicated roller mechanism allows such a heavy construction to rotate according to the principle of a weather vane. The composition is made of stainless steel; its center - key and leaves - covered with gold leaf.; V trekh zalakh kompleksa – Svetlanovskom; Kamernom i Teatral'nom – provodyatsya kontserty i spektakli; krupnyye mezhdunarodnyye forumy i tvorcheskiye vechera; prezentatsii i prazdnichnyye shou; konferentsii i korporativnyye vstrechi.; Svetlanovskiy zal (rasschitan na 1699 mest) — bol'shoy filarmonicheskiy organnyy zal MMDM; nazvannyy v chest' vydayushchegosya russkogo dirizhera Yevgeniya Svetlanova. On prednaznachen dlya provedeniya kontsertov klassicheskoy i populyarnoy muzyki; a takzhe krupnykh festivaley i konkursov. Zal oblitsovan sibirskoy listvennitsey; schitayushcheysya luchshim v mire «akusticheskim» derevom; Развернуть; 574/5000; In the three halls of the complex - Svetlanovsky; Chamber and Theater - concerts and performances; major international forums and creative evenings; presentations and holiday shows; conferences and corporate meetings are held.; Svetlanov Hall (designed for 1699 seats) is a large philharmonic organ hall of the MMMD; named after the outstanding Russian conductor Evgeny Svetlanov. It is intended for concerts of classical and popular music; as well as major festivals and competitions. The hall is lined with Siberian larch; considered the best “acoustic” tree in the world.
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The first columns of history.
The forty pillars of the corridor are 'wrapped columns', designed to look like stems of palm trees or papyrus. The walls have been restored, but the ceiling is made of modern concrete. After the entrance, there is a large and false door of Ka (present spirit), which stands ajar - notice the hinge close to the ground. There were fourteen such doors in the complex, made of wood in other ages, but now, for the first time, it is carved in stone and painted to look like wood. For them, Pharaoh's Ka could move when he wanted to.
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Tōdai-ji (東大寺, Eastern Great Temple)[1] is a Buddhist temple complex that was once one of the powerful Seven Great Temples, located in the city of Nara, Japan.
Its Great Buddha Hall (大仏殿 Daibutsuden) houses the world's largest bronze statue of the Buddha[2] Vairocana,[3] known in Japanese as Daibutsu (大仏).
The Great Buddha statue has been recast several times for various reasons, including earthquake damage. The current hands of the statue were made in the Momoyama Period (1568–1615), and the head was made in the Edo period (1615–1867).
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The fortified complex was built in different eras. The Torrione overlooked the ancient Porta a Terra of the city, was built in 1212 in the period of maximum splendor of the Piombinese communal age, the only surviving testimony of that era. The tower, also known as Sant'Antonio or Porta Inferi, was probably equipped with one or more bells, used in case of anniversaries or dangers
In a sea of ferns a small tree shrugs off its autumn coat. Taken in Hillock Wood, Princes Risborough.
The church as built in 1868–1870 was designed by noted architect Henry Dudley in the Gothic Revival style. It is constructed of rock faced limestone laid in random ashlar and trimmed with dressed limestone. It is composed of a rectangular shaped nave, flanked by side aisles and intersected by a compact transept, with an offset bell tower and spire highlighting an asymmetrically arranged facade. A large rose window is centered within the gable field of the nave.
"Cascade Complex" in Yerevan is an architectural complex on the hillside, located north of city center.
Externally, they look as great stairs, decorated with flowerbeds, fountains, sculptures and contemporary chaczkarami (plates with a carved Armenian cross). The name comes from fountains that flow down of cascade.
The first caskades project at the beginning of 20th century was developed by architect Alexander Tamanian. To commemorate the 50th anniversary of joining Armenia to the USSR, in 1970 this great construction project was returned. Work began only in 1980, but after the earthquake in 1988 and the breakup of the Soviet Union, the work was stopped.
In 2001, the building was taken over by Armenian millionaire, philanthropist and collector Gerard Cafesjian who lived in the United States. He decided to transform the whole into a museum with an exhibition of modern art.
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Kaskady w Erywaniu to kompleks architektoniczny na zboczu wzgórza, położony na północ od centrum miasta.
Zewnętrznie prezentują się jako wielkie schody, ozdobione kwietnikami, fontannami, rzeźbami oraz współczesnymi chaczkarami (płytami z rzeźbionym krzyżem ormiańskim). Nazwa wywodzi się od fontann, które spływają po progach na kształt kaskady.
Pierwszy projekt Kaskad na początku XX wieku opracował architekt Aleksander Tamanian. Dla uczczenia 50-lecia przyłączenia Armenii do ZSRR, w latach 70 tych XX wieku powrócono do tego wielkiego projektu budowlanego. Prace rozpoczęto dopiero w 1980, ale po trzęsieniu ziemi w 1988 i rozpadzie Związku Radzieckiego, prace przerwano.
W 2001 roku budowę przejął żyjący w Stanach Zjednoczonych ormiański milioner, filantrop i kolekcjoner Gerard Cafesjian. Zdecydował się przekształcić całość w muzeum z ekspozycją sztuki nowoczesnej.
In 1990, Archaeological Survey of India discovered a sunken apsidal stepped well along with few sculptures inside it. This stepped well is located immediately to the north of the Shore Temple, its south edge abutting the northern wall of the Shore Temple. On the extreme south of this newly discovered shrine is placed a monolith statue of Varaha (Boar)in its zoomorphic form. This image is carved in round from a single boulder. The statue was found severely damaged, however, with efforts from ASI restorers, we now see this image in its near original glory. The other element of this stepped well is a slender cylindrical shrine constructed partly in rock and partly in stone. Beyond this cylindrical shrine, further northward, is a circular cistern or mini-well. This is cut downwards with a circular rim-like stone placed at the ground level.
ASI report mentions that this well provides potable water though situated near the ocean. Though Rabe accepts these sockets for the capstones of a well, however, he suggests that these might be constructed to hold the ‘pillar of victory’ taken by Narasimhavarman I from Vatapi (Badami) which probably was installed here.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>Rabe2 tries to explain political reason behind the systematic destruction of this Varaha image. Rabe suggests that this Varaha monolith was severely and systematically butchered when the Chalukya king Vikramaditya I invaded the Pallava kingdom. The rationale behind this destruction was the submissive and prostrated attitude of the Varaha (Boar) Varaha was the dynastic crest of the Chalukyas. This specific posture of Varaha might be taken as a reference to the subjugation of the Chalukyas by the Pallava king Narasimhavarman I. And to take revenge, the Chalukyan army destroyed this Varaha image while marching forward into the Pallava kingdom.
Inscriptions On the Varaha (boar) monolith –
The Varaha sculpture is carved out of the mother rock like the three other animal sculptures in the Five Rathas nearby. It has four birudas (titles) of Rajasimha Pallava, some of his favorites, inscribed upon the base, in Sanskrit in the Pallava Grantha script. The birudas on the side are “Sri RajasimhaH” “Sri RanajayaH” and “Sri BharaH”. The biruda on the rear, under the varaha’s tail, is “Sri Citra KaarmukaH”. Between the legs of the boar on both the and under its tail, leaves of acquatic plants are sculpted. These are similar to those at the base of the Varaha and Gajalakshmi panels in the Varaha Mandapam. These indicate that the boar which represents Vishnu, is diving under water, not merely digging.
However, how to explain the engraved titles of Rajasimha, as the Chalukyan attacked the Pallava kingdom before the reign of Rajasimha. To explain it, Rabe tells that it was most possible that like other monoliths, this Varaha was also executed during the period of Narasimhavarman I(630–668 AD). Therefore, when the Chalukyas attacked the Pallavas, during the reign of Narasimhavarman I and Parameshvaravarman I, this monolith was present in the temple complex. As the Varaha was destroyed before the reign of Rajasimha (695 to 722 AD), it was Rajasimha who restored it and that’s how we find his titles engraved on it. (Above description source Internet). Location - Mada Koil St, Mahabalipuram, Tamil Nadu 603104, India
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Along a central corridor, is a group of buildings thought to be a "House for Women" or “Virgins of the Sun.”
Women, who lived here were chosen as children to worked for the Royal Family and keep the temple clean. They were typically daughters of important members of the community and considered very beautiful.
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Acllahuasi, term kichwa (Aclla = Escogida, Huasi = house 'House of the Chosen'), women dedicated directly to the service of the temple and their occupants, in charge of spinning, embroidering and making textiles, in addition to preparing food for the Inca and priests .
Architecturally it is about six rooms built with stones of good Inca stonework, arranged around several internal courtyards. Most of them are in foundations, unlike the main room located at the east end of the complex, which preserves the walls and access door in its entirety, inside it can be seen nineteen trapezoidal niches that decorate it.
Took this photograph at the Wat Pho temple complex during my last visit to Bangkok. The temple of the Reclining Buddha is a very special place, which I visit every time I go to Thailand. Saw this puddle during a stroll through the compound after a short but heavy rainfall. I took numerous pictures. Some even with additional flowers put into the water, but none had the beauty and magic of the untouched spontaneous first shot of the series.
Shadows cast by a grid fence on the right onto the curved crash barrier in the middle, and them onto the grey solid metal fence on the left.
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Not sure what all these things did. Attached to the water pump. Taken at the Shreveport Water Works Museum, a National Historic Landmark.
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