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In 1893, the monastery decided to build a new Tabernacle Church with a chamber in the name of Saints Anthony and Theodosius of Pechersk. In the same year, the architect Volodymyr Nikolaev drew up a project of a new building, which was erected in 1894-95 on the site of the temple, which was dismantled.
Ten cast-iron columns for the Dining Room were made according to Nikolayev's drawings and drawings; In 1895, ten metal crosses were erected at the Valker metalwork factory: eight for the church, two for the Table; by the masters of Herstof - metal openwork doors between the church and the ward.
У 1893 році монастир ухвалив спорудити нову Трапезну церкву з палатою в ім'я преподобних Антонія і Феодосія Печерських. Того ж року архітектор Володимир Ніколаєв склав проєкт нової споруди, яку звели у 1894-95 роках на місці храму, який розібрали.
За малюнками та кресленнями Ніколаєва було виготовлено десять чавунних колон для Трапезної; 1895 року на фабриці металевих виробів Валькера — десять металевих хрестів: вісім — на церкву, два — на Трапезну; майстрами Герстофа — металеві ажурні стулки дверей між церквою та палатою.
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
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In 1893, the monastery decided to build a new Tabernacle Church with a chamber in the name of Saints Anthony and Theodosius of Pechersk. In the same year, the architect Volodymyr Nikolaev drew up a project of a new building, which was erected in 1894-95 on the site of the temple, which was dismantled.
Ten cast-iron columns for the Dining Room were made according to Nikolayev's drawings and drawings; In 1895, ten metal crosses were erected at the Valker metalwork factory: eight for the church, two for the Table; by the masters of Herstof - metal openwork doors between the church and the ward.
У 1893 році монастир ухвалив спорудити нову Трапезну церкву з палатою в ім'я преподобних Антонія і Феодосія Печерських. Того ж року архітектор Володимир Ніколаєв склав проєкт нової споруди, яку звели у 1894-95 роках на місці храму, який розібрали.
За малюнками та кресленнями Ніколаєва було виготовлено десять чавунних колон для Трапезної; 1895 року на фабриці металевих виробів Валькера — десять металевих хрестів: вісім — на церкву, два — на Трапезну; майстрами Герстофа — металеві ажурні стулки дверей між церквою та палатою.
Le bâtiment du STC (Scheepvaart en Transport College) à Rotterdam, conçu par l'agence d'architecture
Neutelings Riedijk Architects.
Ce bâtiment emblématique de soixante mètres de haut, dédié au savoir maritime dans le port de Rotterdam (Pays-Bas), s'élève en zigzag, tel un périscope, percé de deux larges fenêtres : l'une orientée vers le fleuve, l'autre vers la mer. Un réseau d'escalators assure la circulation dans cette école verticale. La partie basse du bâtiment abrite des installations spécialisées : salles de simulation, restaurants, centre multimédia et équipements sportifs, tandis que la vaste salle de conférence en porte-à-faux, coiffée d'une coupole, domine le port de Rotterdam. La façade, composée de panneaux métalliques ondulés bleus et gris argentés, évoque les conteneurs entreposés dans le port. À l'intérieur, divers motifs et finitions créent une ambiance maritime : les murs en plastique rouge de la salle de conférence rappellent les gilets de sauvetage, tandis que les bancs à claire-voie qui bordent les couloirs et les cours sont imprégnés d'huile de lin.
The STC (Scheepvaart en Transport College) building in Rotterdam, designed by the architectural firm Neutelings Riedijk Architects.
This iconic, sixty-meter-high building, dedicated to maritime knowledge in the port of Rotterdam (Netherlands), rises in a zigzag pattern, like a periscope, pierced by two large windows: one facing the river, the other the sea. A network of escalators provides access to this vertical school. The lower part of the building houses specialized facilities: simulation rooms, restaurants, a multimedia center, and sports facilities, while the vast cantilevered conference hall, topped by a dome, overlooks the port of Rotterdam. The facade, composed of undulating blue and silver-gray metal panels, evokes the shipping containers stored in the port. Inside, various patterns and finishes create a maritime atmosphere: the red plastic walls of the conference room are reminiscent of life jackets, while the openwork benches lining the corridors and courtyards are impregnated with linseed oil.
The lighthouse in the fortress of Hellevoetsluis is the oldest original and working round lighthouse in the Netherlands. The lighthouse dates from 1822 and is characteristic of the fortress of Hellevoetsluis and its history.
The tower is 18.10m high, is painted cream and has 2 floors. Around the iron lighthouse with copper dome is a cast iron walkway with balustrade, which rests on openwork cast iron consoles. The tower was extensively renovated in 1901 and tiled up to the entrance in 1961. There are a number of round window openings in the tower.
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As usual in the north of Russia winter is a very long gloomy period. We have just a few bright days when the true beauty of winter can be found.
The shot from my favourite birch valley in my city on one of such moments.
Thank you for all the comments and faves, my friends.
Well, I think it's fair to say that this one is a bit different. :)
This little porcelain Jester head is a pin cushion doll, or topper doll, made in Germany in the 1920s. These dolls were used in many different ways including on pin cushions, powder bowls and puffs, brushes etc etc. This one is only about 1½" high. The buttons are openwork brass and were made in the Czech Republic in the late 19th century. They would originally have had a silver coating, but that's all worn off over the years. The embroidery on the cloth wasn't done by me, this time. I think it probably dates from the 1950s. The ribbons are a cotton/linen mix.
La peau de dentelle enveloppant la partie du bâtiment qui donne sur la mer et sur le fort Saint-Jean, laisse filtrer la lumière qui dessine des ombres au sol et sur les parois vitrées, magnifiques jeux de lumière, de transparence et de couleurs. Dans ce volume intermédiaire se laisse admirer la structure du bâtiment composée d’une multitude de barres d’acier et de tirants solidement chevillés qui rythment le volume ombragé de la pente permet au visiteur de jouir de la vue sans être vu, derrière un moucharabieh minéral. Entre la structure qui soutient les parois de verre et l’enveloppe de béton noir ajourée, un passage permet de déambuler tout autour des salles du musée, de descendre ou de monter jusqu’au toit-terrasse panoramique. De là, une passerelle de 135 mètres de long, avec vue spectaculaire sur le grand large, rejoint le monument historique du fort Saint-Jean et son chemin de ronde.
The lace skin enveloping the part of the building overlooking the sea and Fort Saint-Jean, lets filter the light that draws shadows on the floor and on the glass walls, beautiful play of light, transparency and color. In this intermediate volume is admired the structure of the building consists of a multitude of steel bars and firmly pegged rods that punctuate the shaded volume of the slope allows the visitor to enjoy the view without being seen, behind a moucharabieh mineral . Between the structure that supports the glass walls and the openwork black concrete envelope, a passage allows you to wander all around the museum rooms, to go down or climb up to the panoramic roof terrace. From there, a footbridge 135 meters long, with spectacular views of the open sea, joins the historic monument of Fort Saint-Jean and its walkway.
Malheureusement, nous n'avons pas visité l'intérieur du choeur car il y avait des files pour voir ce lieu payant et également pour cause de manque de temps, en effet, nous étions en transit dans la ville.
Dans les niches des 35 piliers qui divisent la clôture de chœur haute de 6,54 m, sont placées de courtes statues en pierre polychromée des Prophètes de l'Ancien Testament à l'extérieur, et à l'intérieur 15 statues figurant l'Église (12 apôtres, la Vierge Marie, saint Jean-Baptiste et saint Paul, et 72 statues d'anges groupées autour de sainte Cécile, puis enfin Charlemagne et Constantin dominant les portes). Le jubé clôt cet ensemble avec des arches gothiques ajourées. Le pourtour de cette clôture est orné sur deux rangées de 120 stalles surmontées de dais délicatement sculptés, et ses 72 statues d'anges aux figures symboliques.
Unfortunately, we did not visit the interior of the choir because there were queues to see this paid place and also because of lack of time, indeed, we were in transit in the city.
In the niches of the 35 pillars which divide the 6.54 m high choir enclosure, are placed short polychrome stone statues of the Prophets of the Old Testament on the outside, and inside 15 statues representing the Church (12 apostles, the Virgin Mary, Saint John the Baptist and Saint Paul, and 72 statues of angels grouped around Saint Cecilia, then finally Charlemagne and Constantin dominating the doors). The rood screen completes this set with openwork Gothic arches. The circumference of this enclosure is decorated with two rows of 120 stalls surmounted by delicately carved canopies, and its 72 statues of angels with symbolic figures.
La façade moderne pourrait bien décevoir les amateurs d’églises médiévales. Construite dans la première moitié du 19e siècle, c’est la première façade néo-gothique en France. Elle remplace l’ancienne façade qui était flanquée d’un clocher roman. Les deux clochers actuels sont décorés de statues. Le grand portail sous le porche de la façade est en bois sculpté.La façade ouest, qui se dresse au-dessus du marché de la place Saint-Vincent et qui date du XIXe siècle (elle fut construite de 1822 à 1844), fut la première à adopter le style néo-gothique (elle remplace celle, qui a été détruite et qui comportait un clocher roman). Constituée d'un porche en terrasse (œuvre de Lebas), elle est surmontée du pignon de la nef centrale avec rose ajourée. On la doit à l'architecte lyonnais Antoine Chenavard8.
Cette façade est aussi flanquée de deux tours carrées symétriques, hautes de 42 mètres, du gothique flamboyant, que l'architecte proposa en 1827, car les deux anciennes tours commençaient à s’effondrer9. Ces deux tours, qui sont aux extrémités droite et gauche de la façade, sont couronnées de seize statues des saints patrons des quartiers et des communes chalonnaises (saint Georges, saint Laurent, saint Vincent, saint Jean, sainte Marthe, saint Paul). Ces statues furent sculptées par un certain Étienne de Saptes.
The modern façade may well disappoint lovers of medieval churches. Built in the first half of the 19th century, it is the first neo-Gothic façade in France. It replaces the old façade which was flanked by a Romanesque bell tower. The two current bell towers are decorated with statues. The large portal under the porch of the façade is made of carved wood. The west façade, which stands above the market on Place Saint-Vincent and dates from the 19th century (it was built from 1822 to 1844), was the first to adopt the neo-Gothic style (it replaces the one that was destroyed and which had a Romanesque bell tower). Consisting of a terraced porch (the work of Lebas), it is topped by the gable of the central nave with an openwork rose window. It is the work of the Lyon architect Antoine Chenavard8. This façade is also flanked by two symmetrical square towers, 42 metres high, in flamboyant Gothic style, which the architect proposed in 1827, because the two old towers were beginning to collapse9. These two towers, which are at the right and left ends of the façade, are crowned with sixteen statues of the patron saints of the districts and communes of Chalon (Saint George, Saint Laurent, Saint Vincent, Saint John, Saint Martha, Saint Paul). These statues were sculpted by a certain Étienne de Saptes.
Excerpt from en.wikipedia.org/wiki/Belfry_of_Bruges:
The Belfry of Bruges (Dutch: Belfort van Brugge) is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other dangers.
The belfry was added to the Markt (market square) around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83 m (272 feet) high building, which leans 87 centimeters to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
Since 1999, the belfry has been on the UNESCO World Heritage List as a part of the Belfries of Belgium and France serial property. In addition, it is a key component of the UNESCO World Heritage Site of the historic centre of Bruges, inscribed in 2000.
The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour.
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carillonneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, 26 of which are still in use. There were 48 bells at the end of the 19th century, but today the bells number 47, together weighing about 27.5 tonnes. The bells range in weight from two pounds to 11,000 pounds.
The water tower Rijswijk is a concrete tower with a flat-bottomed reservoir (200 m3) is 31 meters high. The tower was built in 1911 to a design by N. Biezeveld in an eclectic style with elements from the Neo-Renaissance and Art Deco. This was done on behalf of the (then) municipality of Hof van Delft.
Characteristic of the tower are the battlements on the reservoir and the Art Deco decorative elements such as on the corners of the base. Until 1992, the tower fulfilled a function in the drinking water supply of the Vliet region
This water tower is a national monument because of its cultural-historical value as a reminder of the importance for the drinking water supply for the region. The tower also has architectural-historical value as an example of a water tower built in an eclectic architectural style; the special type with an openwork substructure in concrete.
Today the tower has a residential purpose
One of the newer buildings in Łódź. I associate it with the empire cruiser (from the star wars saga) but this is only the front of the Łódź Fabryczna (Lodz Factory) railway station building.
Openwork willows on the banks of the river Korocha.
Korochansky district. November, 2022
From the photo project "Land of Belgorod".
Periodically, the sycamore sheds large thin pieces of bark, revealing the beautiful ornamentation of the trunk, for which it is called the shameless tree.
“Platanus orientalis is a majestic tree with a low, wide, openwork and spreading crown. The legs are crooked, coming out of the stovbur just below the straight edge, hanging down to the ground. In modern regions of Ukraine, it is widely cultivated in alleys and street plantings, parks, and it looks especially solitary on the lawn (plane tree). Valuable wood is harvested for making furniture and decorating interiors. On the photo tree with seedlings brought from Bishkek in 1975.”
/text from a sign under a tree/
“Платан східний - величаве дерево з низькою широкою, ажурною і розлогою кроною. Гілки криві, відходять від стовбура майже під прямим кутом, звисаючи до землі. У південних регіонах України широко культивується в алейних і вуличних насадженнях, парках, надзвичайно гарно виглядає поодиноко на газоні (чинара). Цінна деревина використовується для виготовлення меблів, оформлення інтерʼєрів. На світлині дерево з сіянців завезених із Бішкеку 1975 року.»
/текст з таблички під деревом/
Платан поширений в країнах Північної Америки, Східної Азії та Європі. Його прийнято вважати деревом довгожителем. На території Азербайджану росте більше однієї тисячі дуже старих дерев. У Туреччині, росте екземпляр, вік якого становить понад дві тисячі років. Це дерево завжди шанувалося як священне. У Стародавньому Єгипті воно служило символом неба і було присвячено богині Нут.
Платану складали пісні і вірші, його зображення збереглося в мозаїках на стінах древніх мечетей, його вважали священним, оскільки ніхто не знав, скільки років живе платан.
Періодично платан відшаровує великі тонкі шматки кори, оголюючи гарний орнамент стовбура, за що його називають дерево-безсоромниця.
Le jubé est une clôture de pierre qui isole le chapitre de chanoines du reste des fidèles lors des offices. Celui d'Albi, de style gothique flamboyant présente une façade de 18 m de longueur, de 8,20 m de haut, et de 7,15 m de profondeur (sous tribune). La tribune de la façade externe comporte trois registres. Le registre inférieur est décoré à chaque travée de deux arcs jumelés en accolade dont la pointe en fleuron affleure dans le registre médian. Les retombées pendantes des trois arcades à polylobes redentés, ouvertes sur le porche logé sous la tribune, se terminent par des sculptures en forme de gros cabochons. Le registre supérieur comporte des arcs jumelés en plein cintre et, dans les travées intermédiaires, une balustrade ajourée ornée de blasons. Le battant de chaque porte comporte au registre inférieur une grande arcade à claire-voie et en accolade, surmontée d'un tympan à soufflets et mouchettes, et au registre supérieur une suite de petites arcades, groupées deux à deux.
Sa présence dans le remarquable état de conservation où il se trouve est d'autant plus précieuse que la plupart des jubés ont été détruits ; il n'en reste qu'une dizaine en France.
The rood screen is a stone fence that isolates the chapter of canons from the rest of the faithful during services. That of Albi, in the flamboyant Gothic style, has a facade 18 m long, 8.20 m high, and 7.15 m deep (under the stand). The gallery of the external facade has three registers. The lower register is decorated at each span with two paired arches in a brace, the point of which in a fleuron is flush with the middle register. The hanging overhangs of the three arcades with redented polylobes, opening onto the porch housed under the tribune, end in sculptures in the form of large cabochons. The upper register has semicircular twin arches and, in the middle bays, an openwork balustrade decorated with coats of arms. The leaf of each door has in the lower register a large arcade with clerestory and brace, surmounted by a tympanum with bellows and speckles, and in the upper register a series of small arcades, grouped two by two.
Its presence in the remarkable state of conservation in which it is is all the more precious as most of the rood screens have been destroyed; there are only about ten left in France.
Le jubé est une clôture de pierre qui isole le chapitre de chanoines du reste des fidèles lors des offices. Celui d'Albi, de style gothique flamboyant présente une façade de 18 m de longueur, de 8,20 m de haut, et de 7,15 m de profondeur (sous tribune). La tribune de la façade externe comporte trois registres. Le registre inférieur est décoré à chaque travée de deux arcs jumelés en accolade dont la pointe en fleuron affleure dans le registre médian. Les retombées pendantes des trois arcades à polylobes redentés, ouvertes sur le porche logé sous la tribune, se terminent par des sculptures en forme de gros cabochons. Le registre supérieur comporte des arcs jumelés en plein cintre et, dans les travées intermédiaires, une balustrade ajourée ornée de blasons. Le battant de chaque porte comporte au registre inférieur une grande arcade à claire-voie et en accolade, surmontée d'un tympan à soufflets et mouchettes, et au registre supérieur une suite de petites arcades, groupées deux à deux.
Sa présence dans le remarquable état de conservation où il se trouve est d'autant plus précieuse que la plupart des jubés ont été détruits ; il n'en reste qu'une dizaine en France.
The rood screen is a stone fence that isolates the chapter of canons from the rest of the faithful during services. That of Albi, in the flamboyant Gothic style, has a facade 18 m long, 8.20 m high, and 7.15 m deep (under the stand). The gallery of the external facade has three registers. The lower register is decorated at each span with two paired arches in a brace, the point of which in a fleuron is flush with the middle register. The hanging overhangs of the three arcades with redented polylobes, opening onto the porch housed under the tribune, end in sculptures in the form of large cabochons. The upper register has semicircular twin arches and, in the middle bays, an openwork balustrade decorated with coats of arms. The leaf of each door has in the lower register a large arcade with clerestory and brace, surmounted by a tympanum with bellows and speckles, and in the upper register a series of small arcades, grouped two by two.
Its presence in the remarkable state of conservation in which it is is all the more precious as most of the rood screens have been destroyed; there are only about ten left in France.
The corridor house is a very frequent type in Asturias. It is a rectangular-plan construction developed on two levels, with stone walls and a gabled roof. The corridor, generally located on the upper floor and on the main facade, functions as a natural extension of the house to the outside. In this way, the corridor creates meeting or rest spaces, when weather conditions allow it, or service spaces, such as the drying of edible products, for example. In general, the corridor faces south or east and is limited by a wooden balustrade, with various turned, carved or openwork designs. In some cases, the open corridors of the old houses were closed with glass or wood panels, as a way to promote the energy efficiency of the houses or increase privacy.
at Matlock Bath. From www.andrewsgen.com/matlock/pix/matlockbath_jubbridge.htm :-
"In 1887 an iron bridge of 85 feet span was constructed, at a cost of £230, connecting the promenade with Lovers' Walk, and at the same time the Promenade was laid out at a cost of £700[1]". It was made by the Butterley Company and was described by Benjamin Bryan[2] as "a light iron openwork bridge" ... "supported on stone piers".
Borobudur, Java, Indonesië
De Borobudur is 118 bij 118 meter en heeft negen terrassen.
Het moet de Boeddhistische visie op de kosmos voorstellen. Deze begint aan de onderkant met het dagelijkse leven en eindigt aan de bovenkant in het Nirvana.
De 3 bovenste terrassen zijn rond en er staan 72 opengewerkte stoepa’s. Elk bevat een standbeeld van Boeddha.
Een stoepa staat voor de plek tussen de hemel, de aarde en de onderwereld.
Borobudur measures 118 by 118 meters and has nine terraces.
It represents the Buddhist view of the cosmos, which begins at the bottom with daily life and ends at the top with Nirvana.
The three upper terraces are circular, and there are 72 openwork stupas. Each contains a statue of Buddha.
A stupa represents the place between heaven, earth, and the underworld.
Tomada desde el Morro de Toix.
El Puerto Deportivo Luis Campomanes, gestionado por Marina Greenwich se sitúa en el municipio de Altea, en la provincia de Alicante. Cuenta con 542 amarres deportivos, para una eslora máxima permitida de 30 metros, siendo su calado en bocana de 7 m.
*
Taken from the Morro de Toix.
The Puerto Campomanes, managed by Marina Greenwich is located in the town of Altea in the province of Alicante. It has 542 sport moorings, for an allowed maximum length of 30 meters, being its openwork in estuary of 7 m.
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Excerpt from en.wikipedia.org/wiki/Belfry_of_Bruges:
The Belfry of Bruges (Dutch: Belfort van Brugge) is a medieval bell tower in the centre of Bruges, Belgium. One of the city's most prominent symbols, the belfry formerly housed a treasury and the municipal archives, and served as an observation post for spotting fires and other dangers.
The belfry was added to the Markt (market square) around 1240, when Bruges was an important centre of the Flemish cloth industry. After a devastating fire in 1280, the tower was largely rebuilt. The city archives, however, were forever lost to the flames.
The octagonal upper stage of the belfry was added between 1483 and 1487, and capped with a wooden spire bearing an image of Saint Michael, banner in hand and dragon underfoot. The spire did not last long: a lightning strike in 1493 reduced it to ashes, and destroyed the bells as well. A wooden spire crowned the summit again for some two-and-a-half centuries, before it, too, fell victim to flames in 1741. The spire was never replaced again, thus making the current height of the building somewhat lower than in the past; but an openwork stone parapet in Gothic Revival style was added to the rooftop in 1822.
A narrow, steep staircase of 366 steps, accessible by the public for an entry fee, leads to the top of the 83 m (272 feet) high building, which leans 87 centimeters to the east.
To the sides and back of the tower stands the former market hall, a rectangular building only 44 m broad but 84 m deep, with an inner courtyard. The belfry, accordingly, is also known as the Halletoren (tower of the halls).
Since 1999, the belfry has been on the UNESCO World Heritage List as a part of the Belfries of Belgium and France serial property. In addition, it is a key component of the UNESCO World Heritage Site of the historic centre of Bruges, inscribed in 2000.
The bells in the tower regulated the lives of the city dwellers, announcing the time, fire alarms, work hours, and a variety of social, political, and religious events. Eventually a mechanism ensured the regular sounding of certain bells, for example indicating the hour.
In the 16th century the tower received a carillon, allowing the bells to be played by means of a hand keyboard. Starting from 1604, the annual accounts record the employment of a carillonneur to play songs during Sundays, holidays and market days.
In 1675 the carillon comprised 35 bells, designed by Melchior de Haze of Antwerp. After the fire of 1741 this was replaced by a set of bells cast by Joris Dumery, 26 of which are still in use. There were 48 bells at the end of the 19th century, but today the bells number 47, together weighing about 27.5 tonnes. The bells range in weight from two pounds to 11,000 pounds.
In a hand knitted tyrolean style skirt and blouse, made by Mum. The skirt was pea-green, with nice cream coloured edelweisses on a black stripe, some red patterns among them - the blouse was also a cream coloured openwork, gauged sleeves with green cordon in them and in the collar. I remember it perfectly after 55 years!
Just found a piece of this outfit among my late mother's stuff, that's the reason I reposted the photo.
View details in my first comment below.
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Kézzel kötött tiroli ruhámban, amit anyám készített. A szoknya borsózöld volt, rajta fekete sáv, amiben krémszínű havasi gyopár volt hímezve némi kis piros mintával. A blúz krémszínű volt, áttört mintával, a puffos ujján ugyanolyan zöld zsinórral, mint a szoknya. Ennyi idő múltán is tisztán emlékszem rá.
És most megtaláltam a ruha egy darabját anyu holmijai közt - félretette. Ez az oka, hogy újraposztolom a képet - nagyon szerettem ezt.
Részletek a kommentben lent.
The lighthouse in the fortress of Hellevoetsluis is the oldest original and working round lighthouse in the Netherlands. The lighthouse dates from 1822 and is characteristic of the fortress of Hellevoetsluis and its history.
The tower is 18.10m high, is painted cream and has 2 floors. Around the iron lighthouse with copper dome is a cast iron walkway with balustrade, which rests on openwork cast iron consoles. The tower was extensively renovated in 1901 and tiled up to the entrance in 1961. There are a number of round window openings in the tower.
L’hôtel de Beaumont a été édifié entre 1767 et 1771 par l’architecte Raphaël de Lozon, en reprenant partiellement un édifice antérieur. Il doit son nom à son commanditaire, Pierre-Guillaume Jallot, comte de Beaumont. Côté cour, la façade se développe autour d’un avant corps convexe à deux niveaux d’ordres superposés, ajouré de larges baies et coiffé d’un fronton armorié. Cet écrin luxueux abrite un spectaculaire escalier à deux volées parallèles s’unissant au second palier en une unique montée droite suspendue dans le vide. La façade postérieure, timbrée d’un fronton sculpté à l’effigie de la déesse Cybèle, ouvre sur de vastes jardins à la française.
The Hôtel de Beaumont was built between 1767 and 1771 by the architect Raphaël de Lozon, partially repeating an earlier building. It owes its name to its sponsor, Pierre-Guillaume Jallot, Count of Beaumont. On the courtyard side, the facade develops around a convex front body with two levels of superimposed orders, openwork with large bays and topped with an armorial pediment. This luxurious setting houses a spectacular staircase with two parallel flights joining the second landing in a single straight rise suspended in the void. The rear facade, stamped with a pediment sculpted with the effigy of the goddess Cybele, opens onto vast French gardens.
This was the site of the eastern gateway of the Roman fortress, part of which was incorporated into the medieval gate. The present arch was built 1768-9 at the expense of Richard, Earl Grosvenor. The clock above commemorates the diamond jubilee of Queen Victoria in 1897.
The Eastgate Clock in Chester, England, situated above the Eastgate, is a prominent landmark in Chester and is often mistaken as being older than it actually is, constructed in 1899 to commemorate Queen Victoria's Diamond Jubilee. Eastgate clock is said to be the most photographed clock in England after Big Ben. It stands on the site of the original entrance to the Roman fortress Deva Victrix. The clock is attached to the city walls and is positioned over a road, creating a gateway for pedestrians and vehicles. The Eastgate itself dates back to the Roman period, with reconstructions occurring over the centuries, most notably in the 18th century. The current structure blends various architectural styles, reflecting its long history and the different periods of construction and renovation it has undergone.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955.
The street beneath the gate is a pedestrian area with shops and historic buildings, including the HSBC bank, situated in the historic Grosvenor Club and North and South Wales Bank building. This building is a Grade II listed structure. The HSBC branch is currently undergoing renovations, including the installation of new ATMs. During this period, the branch is temporarily closed, with an expected reopening in December 2025. Customers are advised to use the Shotton branch in Flintshire or access some services at the Post Office on Foregate Street.
S.S. Milton is a family-run business specialising in pre-owned jewellery, located at 60 Eastgate St. It is now run by the fourth generation of the Milton family. The store buys and sells mid-to-high-end jewellery, including fine brands such as Boodles and Cartier. The shop is situated in a historic building with a red façade and is recognizable by its signage in gold lettering.
Excerpt from en.wikipedia.org/wiki/Brussels_Town_Hall:
Tower
The tower is made up of two very different parts that nevertheless form a harmonious ensemble: a square base dating from the first phase of construction and a lantern tower built by Jan van Ruysbroek nearly half a century later.
The square base is pierced by an ogival portal surmounted by the same decoration as the left wing: mullioned windows on the first floor, row of statues, then mullioned windows inscribed under a trefoil tympanum on the second floor. This square tower is then extended by two floors, each pierced by a pair of ogival bays on the side facing the Grand-Place.
Next comes the finely openwork octagonal lantern tower, supported at its base by four buttressed turrets, also octagonal. It has three levels pierced with elegant openwork ogival bays and adorned with a profusion of arcades, parapets and gargoyles, and ends with a remarkable openwork spire enhanced with gilding and surmounted by the statue of Saint Michael, the patron saint of the City of Brussels, slaying a dragon or demon.
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
The Openwork House (Accordion House, Burov House) is a monument of experimental housing construction in the Art Deco style, located in Moscow at the intersection of Begovaya Street and Leningradsky Prospekt. It was erected by architects Andrey Konstantinovich Burov and Boris Nikolaevich Blokhin in 1939-1940 by the method of large-block construction.
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Sony 16-50
I'm afraid I'm not feeling hugely inspired at the moment, so here's another button from my collection. It dates from the late 19th Century and it's quite large at 1½" across. The button is leaning against a (barely visible) vintage Sylko cotton reel and I added in a few of my trusty Hydrangea flowers for good measure.
To purchase, please just go to my about and find a link to my facebook. My facebook page has all the links. Thank you so much!
Excerpt from en.wikipedia.org/wiki/Brussels_Town_Hall:
The main facade consists of two asymmetrical wings framing the tower and terminated by corner turrets. Each wing consists of arcades, a balcony, two stories pierced by large mullioned windows and is surmounted by a high saddleback roof pierced by numerous hipped dormers. The octagonal corner turrets have several levels whose faces are decorated with trefoil arches. Each level ends with eight gargoyles arranged radially and is surmounted by a walkway with an openwork parapet. The last level is crowned by a stone spire decorated with foliage and surmounted by a weather vane.
The facade is decorated with numerous statues representing the local nobility (such as the Dukes and Duchesses of Brabant and knights of the Noble Houses of Brussels), saints, and allegorical figures. The present sculptures are mainly 19th- and 20th-century reproductions or creations; the original 15th-century ones are also in the Brussels City Museum. Each of these statues rests on a historiated corbels and is sheltered under a finely chiselled stone canopy surmounted by a pyramid-shaped stone pinnacle decorated with foliage pattern and topped with a finial.
The Facade
The base of the tower is pierced by an ogival portal surmounted by a tympanum depicting Saint Michael surrounded by Saint Sebastian, Saint Christopher, Saint George and Saint Géry (Gaugericus) who, according to legend, erected a chapel that would be at the origin of the City of Brussels.
The Portal
On either side of this portal stand statues of the four cardinal virtues: Prudentia ("Prudence") and Justitia ("Justice") on the left, Fortitudo ("Fortitude") and Temperantia ("Temperance") on the right. The statues of the virtues are supported by very expressive historiated corbels.
The tympanum, the statues and the corbels do not date from the Gothic period but from the 19th-century restorations.
Arcades
The base of the facade is adorned with a gallery of arcades. These arcades are highly asymmetrical as mentioned above: the left wing has eleven arches (including a blind arch located under the corner turret) while the right wing has only six. These ogival arcades have an outer curve decorated with cabbage leaves, a typical motif of the Brabantine Gothic style. Each of them is topped with a finial, also adorned with cabbage leaves, and is surmounted by an arcade of trefoil arches.
The arches are supported by pillars adorned with statues of knights and squires of the Noble Houses of Brussels.[18] These statues rest on often very expressive historiated corbels, among which can be noted a vielle and a gittern player.
The Porch
The gallery in the left wing houses a porch made up of a staircase, a stone balustrade pierced with quadrilobed motifs and two columns each surmounted by a seated lion bearing the coat of arms of Brussels. These lions were sculpted by G. De Groot in 1869, during the 19th-century restorations.
On either side of the steps, the pillars are replaced by historiated corbels representing two tragic scenes involving schepen (aldermen) of the City of Brussels:
On the left, the legend of Herkenbald [nl] or Archambault,[27] the Brussels version of the honest judge who, on his deathbed, sentenced his nephew to death, convicted of rape, before executing him with his own hands because the officer in charge of the execution exempted him from the sentence;
On the right, the attack on Everard 't Serclaes by the henchmen of the Lord of Gaasbeek, following which he was transported to the L'Étoile (Dutch: De Sterre) guildhall located to the left of the Town Hall, before dying there on 31 March 1388.
Granzin, was "Grenzdorf" bedeutet, wird 1230 erstmals urkundlich erwähnt. Es liegt in der Nähe der mecklenburgischen Stadt Boizenburg. Eine Kirche wird 1335 bezeugt. Die heutige Kirche, ein schlichter klassizistischer Bau von 1842, hat den freistehenden Glockenturm aus Fachwerk mitsamt den beiden mittelalterlichen (1509 u. 1510) Bronzeglocken mit gotischer Minuskel-Inschrift von diesem Vorgängerbau übernommen. Im Innern eine Flachdecke mit Kreuz-Malerei sowie Jugendstil-Malereien an den Wänden und in der Apsis. Die Orgel wurde aber bereits 1831 von Friedrich Jacob Friese (Friese I) für die Vorgängerkirche gebaut, dann aber durch Johann Heinrich Runge umgebaut und 1841 in die neue Kirche umgesetzt. Der Altar ist von durchbrochenen Schranken umgeben. Auf dem Altar steht ein rechteckiges Ölgemälde, das Jesus im Garten Gethsemane zeigt. Der Taufstein ist eine zwölfeckige, neugotische Arbeit aus Kalkstein mit aufgelegter Schale aus Bronze. Im Kirchenschiff eine von Süd über West nach Nord umlaufende Empore. Der Kirchhof ist als Friedhof gestaltet. In der Südwestecke steht ein neugotisches Mausoleum mit Wappen der Familie von Stern im Giebeldreieck. Alte Grabplatten vor den Zugängen verweisen ebenfalls auf die Familie v. Stern.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Granzin, meaning “Border Village”, was first mentioned in a document in 1230. The village is situated near the Mecklenburg town of Boizenburg. A church is attested in 1335. Today's church, a simple neo-Classical building dating from 1842, has inherited the freestanding half-timbered bell tower and the two medieval (1509 and 1510) bronze bells with Gothic minuscule inscriptions from its predecessor. The interior has a flat ceiling with cross paintings and Art Nouveau paintings on the walls and in the apse. However, the organ was already built by Friedrich Jacob Friese (Friese I) for the previous church in 1831, but was then rebuilt by Johann Heinrich Runge and moved to the new church in 1841. The altar is surrounded by openwork barriers. On the altar is a rectangular oil painting depicting Jesus in the Garden of Gethsemane. The baptismal font is a dodecagonal, Gothic Revival work made of limestone with a bronze bowl on top. The nave has a gallery running from south to west to north. The churchyard is designed as a cemetery. In the south-west corner is a Gothic Revival mausoleum with the coat of arms of the von Stern family in the gable triangle. Old gravestones in front of the entrances also refer to the von Stern family.
www.dorfkirchen-in-mv.de/content/Version_1/detail_gesamt....
Der Hochaltar ist doppelgeschossig. Altarmensa, Reliquienschrein und Tabernakel nehmen das untere, die Säulenarchitektur mit Auszug das obere Geschoss ein. Unterhalb des von anbetenden Engeln flankierten Tabernakels ist in einem gläsernen Schrein eine Reliquie des hl. Johannes Nepomuk aufbewahrt. Vier gewundene Freisäulen erheben sich auf Postamenten, die in die Emporenbalustrade eingebunden sind. Die gewundenen Säulen zitieren Berninis Altar über dem Petrusgrab in St. Peter in Rom. Vergoldete Blumengehänge verbinden vordere und hintere Säulen. Auf den Kapitellen stehen Ziervasen. Seitlich stehen auf Konsolen und vor Nischen Heiligenfiguren, links Johannes der Täufer, rechts Johannes der Evangelist. Zentrum des Hochaltars ist heute die Figurengruppe des Heiligen Nepomuk und der Maria Immaculata sowie ein durchbrochenes Fensteroval mit gelbem Glas. Als Rahmung dienen erneut vier, diesmal aber glatte Säulen. Ursprünglich befand sich hier eine in Silber gefasste Stuckarbeit Eguid Quirin Asams sowie „ein gross rundes Fenster“. Beides wurde aufgrund von Nässeschäden 1820 durch ein Gemälde ersetzt. Dieses Altargemälde ging 1944/45 verloren. An dessen Stelle öffnet sich heute im oberen Altarbereich das bei der Renovierung der 1970er Jahre hinzugefügte Ovalfenster. Der Altarauszug über dem vielfach geschwungenen Gebälk zeigt eine vollplastische Darstellung des Gnadenstuhls, auf dem Gottvater mit der dreifachen päpstlichen Tiara auf dem Haupt den gekreuzigten Erlöser zwischen schwebenden Engeln präsentiert.
The high altar is two storeys high. The altar table, reliquary and tabernacle occupy the lower storey, while the column architecture with extension occupies the upper storey. Below the tabernacle, flanked by adoring angels, a glass shrine contains a relic of St. John Nepomucene. Four twisted free-standing columns rise on pedestals that are integrated into the gallery balustrade. The twisted columns are reminiscent of Bernini's altar above St. Peter's tomb in St. Peter's Basilica in Rome. Gilded flower garlands connect the front and rear columns. Decorative vases stand on the capitals. On the sides, figures of saints stand on consoles and in front of niches, with John the Baptist on the left and John the Evangelist on the right. Today, the centre of the high altar is dominated by a group of figures representing St. Nepomucene and Mary Immaculate, as well as an openwork oval window with yellow glass. Four columns, this time smooth, serve as a frame. Originally, there was a silver-framed stucco work by Eguid Quirin Asam and ‘a large round window’ here. Both were replaced by a painting in 1820 due to water damage. This altar painting was lost in 1944/45. In its place, the oval window added during the renovation in the 1970s now opens up in the upper altar area. The altar extension above the multi-curved entablature shows a fully sculpted representation of the throne of grace, on which God the Father, wearing the triple papal tiara on his head, presents the crucified Saviour between floating angels.
Die Asamkirche (offiziell St. Johann Nepomuk) in der Sendlinger Straße in Münchens Altstadt wurde von 1733 bis 1746 von den Brüdern Asam (Cosmas Damian Asam und Egid Quirin Asam) errichtet. Sie gilt als eines der bedeutendsten Bauwerke der beiden Hauptvertreter des süddeutschen Spätbarocks. Die Asamkirche steht bereits an der Schwelle zum Rokoko, doch tritt hier die typische Leitform im Ornament, die Rocaille, noch nicht auf. Die Kirche ist eine Filialkirche von St. Peter. Die Kirche sollte ursprünglich als Kapelle der inzwischen in München ansässigen Brüder Asam entstehen. Nachdem es Egid Quirin Asam zwischen 1729 und 1733 gelungen war, mehrere neben seinem Wohnhaus gelegene Grundstücke zu erwerben, errichtete er ab 1733 zusammen mit seinem Bruder Cosmas Damian dort die Kirche St. Johann Nepomuk. Die Grundsteinlegung erfolgte 1733 am Fest des heiligen Nepomuk durch Kurprinz Maximilian Joseph von Bayern. 1734 waren der untere Teil des Hochaltars und zwei Seitenaltäre schon in Benutzung. 1738 arbeitete Egid Quirin Asam am Chor. Die noch unvollendete Kirche wurde am 1. Mai 1746 geweiht Die Kirche wurde ohne Auftrag und als Privatkirche zur höheren Ehre Gottes und zum Seelenheil der Baumeister errichtet. Das ermöglichte den Brüdern auch, unabhängig von den Vorstellungen von Auftraggebern zu bauen. Die Kirche ist noch von den Vorstellungen des römischen Barocks geprägt. Sie ist gewestet und nicht wie üblich geostet, das heißt, der Hochaltar befindet sich im Westen. Die Asamkirche entstand auf engstem Raum, das Grundstück misst nur 22,2 mal 8,8 m.
de.wikipedia.org/wiki/Asamkirche_ (Munich)
The Asam Church (officially St. John Nepomucene) on Sendlinger Straße in Munich's old town was built between 1733 and 1746 by the Asam brothers (Cosmas Damian Asam and Egid Quirin Asam). It is considered one of the most important buildings by the two leading representatives of late Baroque architecture in southern Germany. The Asam Church is already on the threshold of the Rococo period, but the typical leading form in ornamentation, the rocaille, does not yet appear here. The church is a branch church of St. Peter's. The church was originally intended to be a private chapel for the Asam brothers, who had settled in Munich. After Egid Quirin Asam succeeded in acquiring several plots of land adjacent to his residence between 1729 and 1733, he and his brother Cosmas Damian began building the Church of St. John Nepomucene there in 1733. The foundation stone was laid in 1733 on the feast day of St. Nepomucene by Prince Maximilian Joseph of Bavaria. By 1734, the lower part of the high altar and two side altars were already in use. In 1738, Egid Quirin Asam worked on the choir. The still unfinished church was consecrated on 1 May 1746. The church was built without commission and as a private church for the greater glory of God and the salvation of the builders' souls. This also allowed the brothers to build independently of the ideas of clients. The church is still influenced by the ideas of Roman Baroque. It faces west and not east as usual, meaning that the high altar is located in the west. The Asam Church was built on a very small site, measuring only 22.2 by 8.8 metres. This makes the achievement of the two architects all the more astonishing, as they succeeded in harmoniously combining architecture, painting and sculpture in the two-storey interior to create a total work of art. The late Baroque façade is integrated into the row of houses on Sendlinger Strasse. It appears extremely steep and curves convexly forward. Large pilasters with fanciful capitals flank the portal and upper floor windows.
Le Cube vert, accueillant le siège mondial d’Euronews, chaîne d’information européenne, est conçu comme un immense parallélépipède transpercé par deux atriums coniques introduisant la lumière et l’air, et offrant des vues sur le paysage environnant et des accès aux berges de la Saône. Ces atriums s’apparentent à deux yeux gigantesques fixant le fleuve et son environnement. Le geste spectaculaire d’évidement du volume par deux atriums ouvre la façade et favorise la ventilation naturelle diurne et nocturne à l’intérieur de la construction. Ces espaces à ciel ouvert offrent des lieux de détente accessibles depuis les bureaux. Si le volume architectural se découvre d’abord comme un bloc monolithe, ses extrusions et sa résille enrichissent sa matérialité – graphique, coloré, poreux et aérien.
L’enveloppe est composée d’une façade légère largement vitrée, doublée d’une résille d’aluminium ajourée monochrome aux perforations irrégulières. Elle forme une double peau perméable qui scénarise les jeux de lumière à l’intérieur et enrichit les points de vue vers l’extérieur. Cette approche cinétique résonne avec les mouvements oscillants de la Saône. Le choix du vert renvoie à la couleur de la Saône et met en dialogue l’architecture et le paysage naturel des collines des Balmes, situé sur l’autre rive. L’artiste Fabrice Hyber a conçu la résille du bâtiment : “Ce sont des ondes comme les ondes sonores ou de diffusion mais aussi celles de l’eau, des flux.”
The Green Cube, hosting the global headquarters of Euronews, a European news channel, is conceived as an immense parallelepiped pierced by two conical atria introducing light and air, and offering views of the surrounding landscape and access to the riverbanks. of the Saone. These atriums are like two gigantic eyes fixing the river and its environment. The spectacular gesture of recess of the volume by two atriums opens the facade and favors natural diurnal and nocturnal ventilation inside the building. These open spaces offer relaxing spaces accessible from the offices. If the architectural volume is first discovered as a monolithic block, its extrusions and mesh enhance its materiality - graphic, colorful, porous and airy.
The envelope is composed of a largely glazed light facade, lined with monochrome openwork aluminum mesh with irregular perforations. It forms a permeable double skin that scriptures the play of light inside and enriches the points of view to the outside. This kinetic approach resonates with the oscillating movements of the Saone. The choice of green refers to the color of the Saône and puts into dialogue the architecture and the natural landscape of the hills of Balmes, located on the other side. The artist Fabrice Hyber designed the fishnet of the building: "These are waves like sound waves or diffusion but also those of water, flows."
GV Circa 1820 villa with interesting Gothicised details. 3 storeys stucco faced, flanking Ionic pilasters. 2 storey bow to right of entrance. Low pitch slate roof with scalloped openwork eaves board. 3 casement windows 2nd floor, 2 on 1st and ground floors, tripartite on bow. The centre light of the tripartite windows and the other 1st floor window all French casements. All have 4-centred heads, marginal Gothic glazing and hood moulds over. Delicate iron balconies on elaborate brackets to 1st floor windows, that on bow with trellis supports to tent-shaped canopy. Vaulted open porch with 4-centred heads to openings, clustered shaft supports fluted pilasters to inner side of those flanking door. Frieze and moulded cornice projecting at corners, iron balustrade shove. Door of 4 moulded panels, upper 2 with 4-centred heads. 4-centred arched fanlight. Deep panelled reveals and soffit. The rear elevation is slate hung. Gothic windows with marginal glazing. Tuscan porch.
The original Hospital was founded in 1675-6 for distressed sailors and their families. It was converted in to almshouses in the 18th century. These buildings date from Sir Gilbert Scott's rebuilding in 1842, it is built in a Jacobean style front elevation of 2 storeys. 9 bays with rear court entered by 3 gatehouses. Brick. Mullioned stone windows and openwork balustraded parapets. Central gatehouse with round niches over archway surmounted by trophy ofglags and cannon. Pedimented feature flanked by model wood ship hulls and surmounted by model rigged ship. The building became a grade 2 listed building on the 4th December 1972.
( Almshouse (Almshouse, Almshouses)
A place offering accommodation to the poor, sick or elderly of a parish. They are usually paid for and supported by charitable donations.)
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Copyright © 2011 Ray Wood. All Rights Reserved.
Le prime notizie su questo tempio risalgono al 1308, anno in cui venne nuovamente consacrata. L'edificio fu danneggiato dal terremoto del Friuli del 1348 e quindi ristrutturato ed ampliato con l'abside e la sacrestia. La facciata in pietra d'Istria venne realizzata nel 1470 sotto il rettore Emiliano Cimbriaco: di stile tardo-gotico veneziano, possiede un suggestivo rosone traforato con scolpita una Maternità e vetrate a mosaico, tra le prime ad essere realizzate in Friuli. Nella lunetta sopra il portale si trovano le raffigurazioni di Sant'Antonio abate tra San Giovanni Battista e Sant'Antonio da Padova.
Pellegrino da San Daniele, Crocifissione
Nel corso della Seconda Guerra Mondiale l'edificio riportò danni superficiali, aggravati poi dal terremoto del 1976; in seguito si provvide a un accurato ripristino cumulativo. La chiesa è ad unica navata, parte della quale, assieme al coro e all'arco trionfale, è coperta da tre cicli di affreschi: i primi due sono stati realizzati da Vitale da Bologna verso la fine del Trecento, mentre il terzo fu splendidamente affrescato da Martino da Udine, detto Pellegrino da San Daniele, il quale vi lavorò in diverse fasi dal 1497 al 1522. Nella volta del coro sono raffigurati Profeti ed Evangelisti, nella parete di fondo una Crocifissione, mentre nei sottarchi ancora figure di Profeti. Lungo le pareti del coro, nell'arco trionfale e a sinistra sono rappresentate le Storie di Sant'Antonio abate e di Cristo, ove sono presenti ancora tracce del ciclo più antico con scene dell'Infanzia di Cristo.
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The first news about this temple dates back to 1308, the year in which it was again consecrated. The building was damaged by the Friuli earthquake of 1348 and then renovated and enlarged with the apse and the sacristy. The Istrian stone façade was built in 1470 under the rector Emiliano Cimbriaco: of late Venetian Gothic style, it has a suggestive openwork rose window with a carved Maternity and mosaic windows, among the first to be made in Friuli. In the lunette above the portal there are depictions of Sant'Antonio abbot between San Giovanni Battista and Sant'Antonio da Padova.
Pellegrino da San Daniele, Crucifixion
During the Second World War the building suffered superficial damage, then aggravated by the 1976 earthquake; later an accurate cumulative restoration was made. The church has a single nave, part of which, together with the choir and the triumphal arch, is covered by three cycles of frescoes: the first two were painted by Vitale da Bologna towards the end of the fourteenth century, while the third was splendidly frescoed da Martino da Udine, called Pellegrino da San Daniele, who worked on it in different phases from 1497 to 1522. In the vault of the choir are represented Prophets and Evangelists, in the back wall a Crucifixion, while in the arches still figures of Prophets. Along the walls of the choir, in the triumphal arch and on the left, the Stories of Saint Anthony the Abbot and of Christ are represented, where there are still traces of the oldest cycle with scenes from the Childhood of Christ.
Excerpt from en.wikipedia.org/wiki/Brussels_Town_Hall:
The main facade consists of two asymmetrical wings framing the tower and terminated by corner turrets. Each wing consists of arcades, a balcony, two stories pierced by large mullioned windows and is surmounted by a high saddleback roof pierced by numerous hipped dormers. The octagonal corner turrets have several levels whose faces are decorated with trefoil arches. Each level ends with eight gargoyles arranged radially and is surmounted by a walkway with an openwork parapet. The last level is crowned by a stone spire decorated with foliage and surmounted by a weather vane.
The facade is decorated with numerous statues representing the local nobility (such as the Dukes and Duchesses of Brabant and knights of the Noble Houses of Brussels), saints, and allegorical figures. The present sculptures are mainly 19th- and 20th-century reproductions or creations; the original 15th-century ones are also in the Brussels City Museum. Each of these statues rests on a historiated corbels and is sheltered under a finely chiselled stone canopy surmounted by a pyramid-shaped stone pinnacle decorated with foliage pattern and topped with a finial.
The Facade
The base of the tower is pierced by an ogival portal surmounted by a tympanum depicting Saint Michael surrounded by Saint Sebastian, Saint Christopher, Saint George and Saint Géry (Gaugericus) who, according to legend, erected a chapel that would be at the origin of the City of Brussels.
The Portal
On either side of this portal stand statues of the four cardinal virtues: Prudentia ("Prudence") and Justitia ("Justice") on the left, Fortitudo ("Fortitude") and Temperantia ("Temperance") on the right. The statues of the virtues are supported by very expressive historiated corbels.
The tympanum, the statues and the corbels do not date from the Gothic period but from the 19th-century restorations.
Arcades
The base of the facade is adorned with a gallery of arcades. These arcades are highly asymmetrical as mentioned above: the left wing has eleven arches (including a blind arch located under the corner turret) while the right wing has only six. These ogival arcades have an outer curve decorated with cabbage leaves, a typical motif of the Brabantine Gothic style. Each of them is topped with a finial, also adorned with cabbage leaves, and is surmounted by an arcade of trefoil arches.
The arches are supported by pillars adorned with statues of knights and squires of the Noble Houses of Brussels.[18] These statues rest on often very expressive historiated corbels, among which can be noted a vielle and a gittern player.
The Porch
The gallery in the left wing houses a porch made up of a staircase, a stone balustrade pierced with quadrilobed motifs and two columns each surmounted by a seated lion bearing the coat of arms of Brussels. These lions were sculpted by G. De Groot in 1869, during the 19th-century restorations.
On either side of the steps, the pillars are replaced by historiated corbels representing two tragic scenes involving schepen (aldermen) of the City of Brussels:
On the left, the legend of Herkenbald [nl] or Archambault,[27] the Brussels version of the honest judge who, on his deathbed, sentenced his nephew to death, convicted of rape, before executing him with his own hands because the officer in charge of the execution exempted him from the sentence;
On the right, the attack on Everard 't Serclaes by the henchmen of the Lord of Gaasbeek, following which he was transported to the L'Étoile (Dutch: De Sterre) guildhall located to the left of the Town Hall, before dying there on 31 March 1388.
Tribute to Anne Lennox Walking on Broken Glass
www.youtube.com/watch?v=y25stK5ymlA
This evening is special. The last chance to see him at ball and say last words, what never been said. She prepared to this ball with much thoroughness and despair, wanting to show all her desire and strong feelings, beeing the only ONE in his eyes.
Strong mix Red velvet and Black laces create a great contrast with white porcelain skin as mix Love and Despair on pure Soul. Elegant jewellery as blood drops into grace openwork frames, perfect lines of hairstyle with passionate roses and invisible delicate fragrance - all for sake of Love.
Does he love me or doesn't? Her heart wish to know and ears wish to hear only one thing. She is here only for him, for the one beloved man. Come to me, touch me, kiss me, love me.. Her gaze is looking for him around.
She is brave enough to uncover this to high society and speak loud about Feelings, even she will be convicted. Only in love woman knows a price of Promise. Only loving woman knows a price of Forgivness.
Excerpt from en.wikipedia.org/wiki/Brussels_Town_Hall:
The main facade consists of two asymmetrical wings framing the tower and terminated by corner turrets. Each wing consists of arcades, a balcony, two stories pierced by large mullioned windows and is surmounted by a high saddleback roof pierced by numerous hipped dormers. The octagonal corner turrets have several levels whose faces are decorated with trefoil arches. Each level ends with eight gargoyles arranged radially and is surmounted by a walkway with an openwork parapet. The last level is crowned by a stone spire decorated with foliage and surmounted by a weather vane.
The facade is decorated with numerous statues representing the local nobility (such as the Dukes and Duchesses of Brabant and knights of the Noble Houses of Brussels), saints, and allegorical figures. The present sculptures are mainly 19th- and 20th-century reproductions or creations; the original 15th-century ones are also in the Brussels City Museum. Each of these statues rests on a historiated corbels and is sheltered under a finely chiselled stone canopy surmounted by a pyramid-shaped stone pinnacle decorated with foliage pattern and topped with a finial.
The Facade
The base of the tower is pierced by an ogival portal surmounted by a tympanum depicting Saint Michael surrounded by Saint Sebastian, Saint Christopher, Saint George and Saint Géry (Gaugericus) who, according to legend, erected a chapel that would be at the origin of the City of Brussels.
The Portal
On either side of this portal stand statues of the four cardinal virtues: Prudentia ("Prudence") and Justitia ("Justice") on the left, Fortitudo ("Fortitude") and Temperantia ("Temperance") on the right. The statues of the virtues are supported by very expressive historiated corbels.
The tympanum, the statues and the corbels do not date from the Gothic period but from the 19th-century restorations.
Arcades
The base of the facade is adorned with a gallery of arcades. These arcades are highly asymmetrical as mentioned above: the left wing has eleven arches (including a blind arch located under the corner turret) while the right wing has only six. These ogival arcades have an outer curve decorated with cabbage leaves, a typical motif of the Brabantine Gothic style. Each of them is topped with a finial, also adorned with cabbage leaves, and is surmounted by an arcade of trefoil arches.
The arches are supported by pillars adorned with statues of knights and squires of the Noble Houses of Brussels.[18] These statues rest on often very expressive historiated corbels, among which can be noted a vielle and a gittern player.
The Porch
The gallery in the left wing houses a porch made up of a staircase, a stone balustrade pierced with quadrilobed motifs and two columns each surmounted by a seated lion bearing the coat of arms of Brussels. These lions were sculpted by G. De Groot in 1869, during the 19th-century restorations.
On either side of the steps, the pillars are replaced by historiated corbels representing two tragic scenes involving schepen (aldermen) of the City of Brussels:
On the left, the legend of Herkenbald [nl] or Archambault,[27] the Brussels version of the honest judge who, on his deathbed, sentenced his nephew to death, convicted of rape, before executing him with his own hands because the officer in charge of the execution exempted him from the sentence;
On the right, the attack on Everard 't Serclaes by the henchmen of the Lord of Gaasbeek, following which he was transported to the L'Étoile (Dutch: De Sterre) guildhall located to the left of the Town Hall, before dying there on 31 March 1388.