View allAll Photos Tagged rectangular
split toned aqua and pink
Just slightly off color so you have to look twice. If you are not a native you might not see the difference
Cusworth Hall is an 18th-century Grade I listed country house in Cusworth, near Doncaster, South Yorkshire in the north of England. Set in the landscaped parklands of Cusworth Park, Cusworth Hall is a good example of a Georgian country house. It is now a country house museum.
The house is constructed of ashlar with slate roofs. The rectangular 6 x 5 bay plan main block is linked to 5 x 2 bay service wings.
The Wrightson family had held the lordship of Cusworth since 1669.
The present house was built in 1740–1745 by George Platt for William Wrightson to replace a previous house and was further altered in 1749–1753 by James Paine. On William's death in 1760 the property passed to his daughter Isabella, who had married John Battie, who took the additional name of Wrightson in 1766. He employed the landscape designer Richard Woods to remodel the park. Woods was one of a group of respected landscape designers working across the country during the 18th century and Cusworth was one of his most important commissions in South Yorkshire, another being at Cannon Hall. Woods created a park of 250 acres with a hanging and a serpentine river consisting of three lakes embellished with decorative features such as the Rock Arch and the Cascade.
The estate afterwards passed to John and Isabella's son, William Wrightson (1752–1827), who was the MP for Aylesbury from 1784 to 1790 and High Sheriff of Yorkshire for 1819–1820. He was succeeded by his son William Battie-Wrightson (1789–1879), who at various times was MP for East Retford, Kingston upon Hull and Northallerton. He died childless and Cusworth Hall passed to his brother Richard Heber Wrightson, who died in 1891.
The property was then inherited by his nephew William Henry Thomas, who took the surname Battie-Wrightson by Royal Licence and died in 1903. He had married Lady Isabella Cecil, eldest daughter of the 3rd Marquess of Exeter. Between 1903 and 1909 Lady Isabella made further alterations to the house. She died in 1917, leaving an only son Robert Cecil Battie-Wrightson (1888–1952). On his death in 1952, the estate descended to his sister, a nurse who had married a Major Oswald Parker but later was variously known as Miss Maureen Pearse-Brown and as Mrs Pearce. She was obliged to sell the contents of Cusworth Hall in October 1952 to meet the death duties levied at Robert Cecil's death. She subsequently sold the hall to Doncaster Council.
Cusworth Estate Cusworth was first mentioned as ‘Cuzeuuorde’ in the domesday survey of 1086 but there has been a settlement here for centuries dating back to the Anglo-Saxon period. Many different families had held the lands and manor but they did not always live at Cusworth.
‘Old Hall’ A large house is first mentioned in 1327. Robert Wrightson bought the lands and manor of Cusworth in 1669 from Sir Christopher Wray. The first surviving map of Cusworth is that of Joseph Dickinson's 1719 plan which shows the hall and gardens covered only 1 acre with the orchards a further 2 acres. What is most significant at this time was the ‘Parke’ of some 25 acres. The ‘Old Hall’ was next to the walled gardens in the centre of Cusworth village. In 1726 the ‘Old Hall’ was expanded including altering the gardens between 1726 and 1735. This expanded the kitchen garden into the size and form we know today with the Bowling Green and Pavilion.
In the period 1740–1745 William Wrightson employed George Platt, a mason architect from Rotherham, to build a new hall – the current Cusworth Hall – high on a scarp slope on the Magnesian Limestone removing the Hall, and the family, from the village of Cusworth. The ‘Old Hall’ was largely demolished in the process, many components from the old building re-used in the new.
Cusworth Hall Cusworth Hall itself and its outbuildings are at the centre of the park enjoying ‘prospect’ over the town of Doncaster. The Grade I-listed eighteenth century hall was designed by George Platt in the Palladian style. Cusworth Hall is handsome, well proportioned, with wings consisting of a stable block and great kitchen. Later additions by James Paine include a chapel and library. It has decorative outbuildings including a Brew House, Stable Block and Lodge. In addition it has a decorative garden called Lady Isabella's Garden on the west side adjacent to the chapel. On its eastern flank the stable block and gardeners' bothy. Attached to the bothy is a decorative iron enclosure known as the Peacock Pen.
Cusworth Park Cusworth Park is an historic designed landscape with a Grade II listing in the English Heritage Register of Parks and Gardens. It was designed and created by the nationally known landscape architect Richard Woods to ‘improve’ the park in the style made famous by Lancelot ‘Capability’ Brown now termed ‘The English Landscape Park’. Work started in 1761 laying out the ‘grounds and the serpentine river’.
The land forming the existing park is 60 acres (25 hectares) – 250,000m, and was part of the much larger parkland (250 acres) and estates (20,000 acres) of the Battie-Wrightson family who owned Cusworth Hall.
The walled garden The earliest description of the layout of the park and walled gardens is that shown on Joseph Dickinson's 1719 plan. In 1761 Richard Woods altered areas within the walled gardens. Together ‘woods’ Kitchen Garden and Green House Garden occupy the site of the orchard shown on Dickinson's plan.
The purchase of bricks from Epworth for the construction of the walled gardens is recorded in the New House Accounts.
The garden was a compartmentalised space, however with focus on domestic production in some sections, exotics in another, an orchard, and formal flower gardens in the rest.
The kitchen gardens included pine pits (pineapple house), later to become stove houses and mushroom houses.
The Entrance Terrace (Upper Terrace) Old plans show a narrow walled enclosure or ‘entrance terrace' running east–west. The walls of this enclosure may well have been of stone or stoned faced and still, in part survives. To the south are the main components of the walled garden. Access from the terrace down to the bowling green is via a flight of stone steps.
Bowling Green Described on Richard Woods plans of 1760. This is a roughly square, walled enclosure where the bowling green is surrounded by an earthed banked terraced walk. The enclosure is defined by a brick wall, which was lowered along its western side to give a view over to the Green House Garden.
Summerhouse / Bowling Pavilion Built 1726. The summerhouse is the main architectural feature of the walled garden. It is of two stories with the upper storey accessed from the Bowling Green. There is an impression of more carefully shaped quoins at the corners but it is probable that the walls were originally rendered and lime washed externally. There are windows giving views across the Bowling Green from the upper chamber and across the Flower Garden from the lower chamber.
During restoration in the 1990s the upper chamber was decorated with Trompe-l'œil. showing views of imagined walled gardens at Cusworth.
Flower Garden The garden was designed to be viewed principally from the higher position of the bowling green. It was subdivided by cross-paths and furnished with four formal beds. Although one of the smallest compartments, the flower garden was the most highly ornamental and tightly designed. It would have created a formal, colourful architectural space contrasting with the simplicity of the bowling green
Hall Garden The function of the Hall Garden is not clear but appears to have been an extension of the decorative scheme of the flower garden. The Hall Garden has a perimeter walk and is then divided into two plots by a further, central path.
Peach House This whitewash wall indicates the position of the peach house.
Melon Pits Melon pits ran east–west along this area.
Orchard Through the 18th century the orchard was not enclosed and remained open until the late 19th century. It was double its current size extending back up to Cusworth Lane until the northern half was sold off for housing in the 1960s.
Kitchen Garden (No longer existing) The west, south and this east boundary wall(s) of the garden still exist but the plot of land was sold off for housing in the 1960s. There was an access gate between the Hall Garden and the kitchen garden (this can be seen bricked up in the northwest corner). This garden had a perimeter walk and was planted with trees arranged in parallel lines orchestrated around a small building at the northern end of the compartment.
Green House Garden (No longer existing) The kitchen garden represents the greater part of the area occupied by the original orchard shown on Dickinson's 1719 plan. The remaining area was described on Woods’ plan as the Green House Garden and was shown divided into two unequal parts. Both parts of the garden appear to have been planted with trees, probably fruit trees. A building abuts the bowling green in roughly the position as the one shown on the Dickinson plan but there is an additional building, roughly square in plan, to the northwest corner of the enclosure. This was probably the Dovecote for which Wrightson paid £9 15s 0d in 1736.
The west boundary wall still exists and this low (east) wall that runs along the length of the bowling green but the plot of land was sold off for housing in the 1960s.
In 1961 Doncaster Rural District Council purchased Cusworth Hall and the adjoining parkland from the Battie-Wrightson family. The Council undertook an initial restoration of the grounds and also recreated what is now the tearooms within the former stable block. The former reception rooms and spacious galleries now house the Museum of South Yorkshire life, officially opened on 30 September 1967.
Cusworth Hall and Park underwent an extensive £7.5 million renovation between 2002 and 2005, involving essential conservation repairs to the Hall and extensive restoration of the landscape gardens. Within the hall external repairs to the stonework and roof were undertaken to ensure that the exterior was watertight, whilst internal works upgraded internal services and enabled new displays to be installed.
The restoration of the designed landscape have been greatly influenced by a comprehensive analysis of available archive material, among which are the original written memoranda and sketches produced by Richard Woods for his site forman Thomas Coalie. An integrated archaeological programme also formed a key aspect of the restorations, recording in detail landscape features such as the Rock Arch, Cascade, and Bridge. This restoration has not 'recreated' the 18th century scheme, although elements are still incorporated within a 'living' amenity garden that is now thriving as a result of the recent work undertaken in partnership with the Friends of Cusworth Park.
The Hall reopened to the public on 23 May 2007 and the new displays document the history of South Yorkshire and it is a valued resource for local residents, students and school groups alike.
Cusworth Hall Museum and Park is the venue for a varied program of seasonal exhibitions, events and activities linked to the history of the area. including Country Fairs, vintage vehicle rallies, historic re-enactments, wildlife sessions and a range of seasonally themed events. A free, weekly, 5 km parkrun takes place every Saturday at 9 am in the grounds of Cusworth Hall. The first event was held on Saturday 5 October 2019 and was hosted by the staff at Cusworth in collaboration with the local community.
Additionally, Doncaster Museums' Education Service offers a range of learning sessions to schools and educational establishments. Specialist and experienced Education Officers deliver learning workshops to schools across a broad range of topics as well as out-of-school-hours activities for families and local communities.
A black and white photo of an old rectangular window, with fifteen small panes of glass. The stone around the window is carved to give further framing in a series of grooves. Reflected in the window is the street opposite, Georgian (probably) tenement buildings and their windows are at an oblique angle giving a sense of depth to the reflection. Edinburgh, Scotland.
Photo by and copyright of Lynn Henni.
The Federal Building in Kitchener is located between two small parks on Queen and Frederick Streets. The rectangular, modern classical structure is constructed of stone- clad concrete and features a central section with two projecting entry bays framed within classical pilasters and entablatures. The vertical thrust of the windows is balanced by a horizontal emphasis given by layers of stone that recede to the roofline. Sculpted bronze panels are located in window apertures between storeys. The designation is confined to the footprint of the building.
Nikon Nikkormat FT2 - AI Nikkor 24mm 1:2.8 - Ilford Delta 400 @ ASA-320
Adox XT-3 (1+1) 10:00 @ 20C (Constant Rotation)
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Dealey Plaza, a generally rectangular and approximately 3-acre park, was formed in 1934-40 from several blocks of Dallas founder John Neely Bryan's original land grant. The Plaza replaced residential and commercial buildings on the tract. The land was acquired by the City of Dallas during the 1930's to create a major gateway to the city from the west, and to relieve traffic congestion at the Union terminal railroad tracks which passed north-south at the western edge of the city. Originally called the "Elm-Main-Commerce Subway", the gateway was conceived as a "triple underpass" of streets, which afforded access to the western edge of Downtown Dallas beneath the Union Terminal company tracks. To build the underpass, engineers regraded the area to slope gently down toward the west. All plans for the Plaza showed a rectangular park traversed by three streets rearranged in a bisected triangle - Commerce to the south, Main in the middle, and Elm to the north converging to the west in the Triple Underpass.
The plaza and roadway were designed by city engineers, with assistance in the final plan from E.F. Mitchell, chief engineer for the Texas & Pacific Railroad and Union Terminal Company. The joint federal-city-railroad project was supervised by the Texas Highway Department. The park was named Dealey Plaza in 1935, in honor of George Bannerman Dealey (1859-1946), an outstanding civic leader who had advocated city planning for Dallas for decades already, publisher of The Dallas Morning News, crusader for improvements to the Trinity River corridor, and president of West of Commerce Realty Company, which had donated most of the right of way west of the underpass. The Plaza was dedicated in 1936, the same year the park was placed under the administration of the City of Dallas Park Board, which still maintains jurisdiction over it.
The block of Elm Street in Dallas where President John F. Kennedy was assassinated on November 22, 1963, is in the westernmost portion of the "West End Historic District", an early 20th century warehouse/government historic district in the city's downtown. The vicinity includes Dealey Plaza, its landscape and structures, adjacent city streets, perimeter buildings, and a part of the rail-yards immediately north of the Plaza. In the 1960's, the commercial part of the West End district was in decline, because rail traffic, which had nourished it, had diminished. Since local historic district designation of the West End Historic District in 1975 and listing on the National Register of Historic Places (NRHP) 3 years later, the area as a whole has undergone marked revival, spurred by both private and governmental investment.
On April 19, 1993, the Dealey Plaza Historic District was itself named a National Historic Landmark (NHL) and was listed on the National Register of Historic Places (NRHP). This district is significant for National Historic Landmarks criteria #1 - an event---the assassination of the 35th President of the United States---that is identified with the broad national patterns of U.S. history; #2 - important associations with persons nationally significant in U.S. history---i.e. President John F. Kennedy and his successor, President Lyndon B. Johnson; and #5 - composed of integral parts of the environment that collectively compose an entity of exceptional national historical importance. These associations are so consequential in American history that they are of extraordinary national importance. President John F. Kennedy's association with Dealey Plaza was momentary but eternal. The street approaching the Triple Underpass in what was then the main municipal plaza in Downtown Dallas--a place of civic pride, where he was fatally shot on November 22,1963 in front of his successor, Lyndon B. Johnson who was riding in the second car back, several hundred eyewitnesses, and the world--instantly became one of the most notorious sites in U.S. history. Hailed in 1936 as the "Gateway to Dallas" and a place "that must surely play a great part in the future of this city," it has, since that fatal day, to the world outside Dallas, summoned all the emotions that only such a loathsome event can. In the United States there is only one other such site that is intact...Ford's Theatre.
All of the information above was found on the original documents submitted for consideration of listing as a NHL and on the NRHP. There is much more included on these documents that can be viewed here:
npgallery.nps.gov/NRHP/GetAsset/88315def-c6a9-408b-ac2a-b...
The photograph above was taken from the same location that the Zapruder film was shot by Abraham Zapruder on November 22, 1963 that would become "culturally, historically, or aesthetically significant" enough to be selected for preservation in the United States National Film Registry by the Library of Congress in 1994.
Three bracketed photos were taken with a handheld Nikon D7200 and combined with Photomatix Pro to create this HDR image. Additional adjustments were made in Photoshop CS6.
"For I know the plans I have for you", declares the LORD, "plans to prosper you and not to harm you, plans to give you hope and a future." ~Jeremiah 29:11
The best way to view my photostream is through Flickriver with the following link: www.flickriver.com/photos/photojourney57/
Just color and line, color and line.
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
A long rectangular cistern, cut into the bedrock during the Late Republican period (ca. 1st c. BCE) to supply a villa, was converted into a mithraeum in the late 2nd or early 3rd c. CE, with the addition of encaustic paintings directly onto the pre-existing waterproof cement.
The mithraeum was discovered during the enlargement of a wine cellar in 1963, and came to the attention of archaeologists shortly thereafter. Because of the need to maintain strict atmospheric conditions to preserve the paintings, it is not regularly open, though visits are occasionally offered.
Rectangular purple glass beads teamed with white metal chain and swarovski crystals enclosed in silver rings.
Arquitectura religiosa, maneirista. Capela de fundação particular, de planta rectangular composta por nave e capela-mor pouco profunda, com anexos adossados às fachadas laterais, com cobertura interior de madeira em caixotões almofadados e iluminado uniformemente por janelas rasgadas nas fachadas laterais e na principal. Fachada principal em empena, com os vãos rasgados em eixo, composto por portal, flanqueado por postigos, e por janela rectilínea. Fachadas com cunhais apilastrados, firmados por pináculos e remates em cornija, as laterais rasgadas por portas travessas. Interior com coro-alto sustentado por pilares de madeira e alto presbitério com acesso lateral, onde se implantam as capelas colaterais e mor, todas com retábulos de talha policroma maneirista. www.monumentos.pt/Site/APP_PagesUser/SIPA.aspx?id=8825
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Made from several Light L16 shots with Hugin. HDR from RAW files done in Aurora HDR 2019.
Check out the original file (14999 x 6538 px = 98 MPx) here: pan.musicaloris.de/L16_02549_Linuspan_lmr.jpg
© All Rights Reserved. Please do not use this image on websites, blogs or other media without my prior permission.
Description of Buildings:
Gesu Church is a rectangular structure of structural steel, reinforced-concrete construction and features exterior walls covered with stucco.
An arcaded portico projects from the west façade of the church and is divided by four massive piers into three bays.
The piers and pilasters on the opposite wall rest
on cubical pedestals approximately nine feet high. A chamfered molding serves as a capital for each pier and is repeated, at the same level as a belt course
running completely around the building.
The central bay of the portico projects slightly, and its arch springs from two semi-engaged Doric columns, thus framing
the main entrance of the church.
Articulation of the west wall echoes the tripartite divisions of the portico with semicircular arched portals at each bay. Double doors of wood and glass are recessed within the portal and have dentilled transoms and cartouches above.
The north façade of the church features an elevated basement from which piers rise to the architrave above. Indented panels between the piers contain tall, semi-circular arched stained glass windows.
A tripartite tower complex embellishes the roof. The central tower which is square in plan, rises in a series of steps and contains a belfry with arched windows. Two hipped roof towers flank the central tower.
Gesu Rectory is located directly east of the church and is connected to it. This four story rectangular structure is of structural steel, reinforced concrete construction, and its exterior walls are covered with stucco. Its pedimented gable
roof is covered with Spanish tile.
The main entrance is located in the center bay of the north façade and features a double door with large lights. The majority of windows are three over one double
hung sash. Round arch windows grace the fourth floor.
Gesu School is located east of the rectory. The building is a five story rectangular structure of reinforced concrete construction covered with stucco. A flat roof with parapet tops the building and features a pediment above the main entrance.
The focal point of the building is a grand, three story portico on the north façade. Ionic columns support the portico and are repeated in pilasters separating each bay. The main entrance features a colossal semi-circular arch with double doors.
The Fathers of the Society of Jesus have been instrumental in the establishment of Gesù Catholic Church from its inception. Gesù Parish was established as a result of the large Catholic community present in Miami. The original wooden church was built on land donated by Henry Flagler, and as Miami began to grow the need for a larger Church became a necessity. In 1921, the first cornerstone of this concrete and steel structure was laid to suit the needs of the growing Catholic community in Miami
Through the years, Gesù has been a spiritual ambassador to Catholics living in South Florida. It has taken on many roles aside from being a Church. For more than 75 years, Gesù Church started Gesù School which provided elementary and high school education. The school was run by the Sisters of St. Joseph
In addition, the Centro Hispano Católico at Gesù assisted Cuban refugees and refugees from other Central American countries with basic needs and helped with assimilation into a foreign country. From 1959-1982, the Centro Hispano Católico provided refugees with food, clothes, medical care, jobs, housing, daycare, school tuition, English classes, and immigration assistance. In 1962, Gesù served as headquarters to the Pedro Pan operation which bought more than 14,000 unaccompanied children from Communist Cuba
In September 1961, Gesù housed Belén Jesuit Preparatory School for a year and a half. After being exiled from Cuba, Jesuit Priests opened a school for refugee students who were living in Miami. This was the beginning of Belén Jesuit in South Florida.
Today, Gesù Catholic Church remains the spiritual center of downtown Miami. As the oldest church in South Florida, Gesù invites all to visit this historic landmark that has been serving South Florida’s Catholic community for nearly 120 years.
Credit for the data above is given to the following websites:
www.halsema.org/places/miami/GesuChurchandRectory.pdf
© All Rights Reserved - you may not use this image in any form without my prior permission.
----------------------------------------------------------------------------
press "f" to like
press "c" to comment
Thank you very much for checking out my work!
I appreciate all your comments and faves.
If you´d like to visit my entire photostream just
click the link below
--------------------------->Delta Bravo<---------------------------
Sunshine streaming through a window creates a rectangular-shaped spotlight effect that Suki has found to be a good place to try to take a nap.
Rom - Forum Romanum
The Roman Forum, also known by its Latin name Forum Romanum (Italian: Foro Romano), is a rectangular forum (plaza) surrounded by the ruins of several important ancient government buildings at the center of the city of Rome. Citizens of the ancient city referred to this space, originally a marketplace, as the Forum Magnum, or simply the Forum.
For centuries the Forum was the center of day-to-day life in Rome: the site of triumphal processions and elections; the venue for public speeches, criminal trials, and gladiatorial matches; and the nucleus of commercial affairs. Here statues and monuments commemorated the city's great men. The teeming heart of ancient Rome, it has been called the most celebrated meeting place in the world, and in all history. Located in the small valley between the Palatine and Capitoline Hills, the Forum today is a sprawling ruin of architectural fragments and intermittent archaeological excavations attracting 4.5 million or more sightseers yearly.
Many of the oldest and most important structures of the ancient city were located on or near the Forum. The Roman Kingdom's earliest shrines and temples were located on the southeastern edge. These included the ancient former royal residence, the Regia (8th century BC), and the Temple of Vesta (7th century BC), as well as the surrounding complex of the Vestal Virgins, all of which were rebuilt after the rise of imperial Rome.
Other archaic shrines to the northwest, such as the Umbilicus Urbis and the Vulcanal (Shrine of Vulcan), developed into the Republic's formal Comitium (assembly area). This is where the Senate—as well as Republican government itself—began. The Senate House, government offices, tribunals, temples, memorials and statues gradually cluttered the area.
Over time the archaic Comitium was replaced by the larger adjacent Forum and the focus of judicial activity moved to the new Basilica Aemilia (179 BC). Some 130 years later, Julius Caesar built the Basilica Julia, along with the new Curia Julia, refocusing both the judicial offices and the Senate itself. This new Forum, in what proved to be its final form, then served as a revitalized city square where the people of Rome could gather for commercial, political, judicial and religious pursuits in ever greater numbers.
Eventually much economic and judicial business would transfer away from the Forum Romanum to the larger and more extravagant structures (Trajan's Forum and the Basilica Ulpia) to the north. The reign of Constantine the Great saw the construction of the last major expansion of the Forum complex—the Basilica of Maxentius (312 AD). This returned the political center to the Forum until the fall of the Western Roman Empire almost two centuries later.
(Wikipedia)
Das Forum Romanum (Römischer Marktplatz) in Rom ist das älteste römische Forum und war Mittelpunkt des politischen, wirtschaftlichen, kulturellen und religiösen Lebens. Es liegt in einer Senke zwischen den drei Stadthügeln Kapitol, Palatin und Esquilin und war der Ort vieler öffentlicher Gebäude und Denkmäler.
Ursprünglich ein von einem Bach durchzogenes, sumpfiges Tal, wurde es laut der antiken Überlieferung, die nicht mit dem bis wohl ins 8. Jahrhundert v. Chr. zurückreichenden archäologischen Befund übereinstimmt, erst unter dem legendären etruskischen König Lucius Tarquinius Priscus zu Beginn des 6. Jahrhunderts v. Chr. in die Stadt einbezogen. Den Höhepunkt seines prachtvollen Ausbaus erlebte es in der Römischen Kaiserzeit. Es ist heute eine der wichtigsten Ausgrabungsstätten des antiken Roms.
(Wikipedia)
The Grade I Listed Carew Castle, a Norman Rectangular castle with Elizabethan Ranges alongside the Carew River in Pembrokeshire, South Wales.
The Carew family take their name from the place, and still own the castle, although it is leased to the Pembrokeshire Coast National Park, which administers the site.
The use of the site for military purposes extends back at least 2000 years. The castle stands on a limestone bluff overlooking the Carew inlet — a part of the tidal estuary that makes up Milford Haven. The site must have been recognised as strategically useful from the earliest times, and recent excavations in the outer ward have discovered multiple defensive walls of an Iron Age fort.
The Norman castle has its origins in a stone keep built by Gerald de Windsor around the year 1100. Gerald was made castellan of Pembroke Castle by Arnulf of Montgomery in the first Norman invasion of Pembrokeshire. He married Nest, princess of Deheubarth around 1095. Nest brought the manor of Carew as part of her dowry, and Gerald cleared the existing fort to build his own castle on Norman lines.
Gerald's son William took the name "de Carew", and in the middle of the 12th century created an enclosure with stone walls incorporating the original keep, and a "Great Hall" inside it.
The de Carews fell on hard times in the post-Black Death period and mortgaged the castle. It fell into the hands of Rhys ap Thomas, who made his fortune by strategically changing sides and backing Henry Tudor just before the battle of Bosworth. He extended the castle with luxurious apartments with many Tudor features in the late 15th century.
Rhys's grandson Rhys ap Gruffudd fell out of favour and was executed by Henry VIII for treason in 1531. The castle thus reverted to the crown and was leased to various tenants. In 1558 it was acquired by Sir John Perrot, a Lord Deputy of Ireland, who completed the final substantial modifications the castle.
Perrot subsequently fell out of favour and died imprisoned in the Tower of London in 1592. The castle reverted to the crown and was finally re-purchased by the de Carew family in 1607. In the Civil War, the castle was refortified by Royalists although south Pembrokeshire was strongly Parliamentarian. At the Restoration the castle was returned to the de Carews, who continued to occupy the eastern wing until 1686. The castle was then abandoned and allowed to decay.
Rectangular in shape, one end of the plaza has a fountain topped by the figure of a colt with its front legs raised holding a sign with the coat of arms of the city. This Renaissance-style fountain dates from 1577, and the colt which gives its name to the square was added a century later.
Among the buildings overlooking the square is the famous Posada del Potro, mentioned by Cervantes in Don Quixote, in addition to the city's Museum of Fine Arts and the Museum Julio Romero de Torres.
Historic Marker reads:
"This little church began as a simple rectangular board and batten structure built in 1886 by the First Congregational Church on Main Street in Apopka. Services were held in the church for ten years until the Great Freeze of 1895 forced the congregation to disband. The building housed various businesses during the subsequent years, and eventually fell into neglect. In 1902, two Orange County educators, sisters Elizabeth Emma and Mary E. Dart, prevailed upon Saint Luke’s Cathedral in Orlando to purchase the building for $75 and start an Episcopal Mission. The Dart sisters, alongside other Episcopalians, restored and re-consecrated the church. Bishop William Crane Gray held the first service on November 16, 1902, in the renamed Church of the Holy Spirit. Parking issues and traffic noise forced the congregation to relocate the church to its current location in 1970. Congregation growth prompted the construction of a new church building, and the “Big Church” was consecrated by Bishop John W. Howe in 1990. The original “Little Church” serves as Holy Spirit’s Memorial Garden Chapel. Both churches display Carpenter Gothic architecture and reflect the Gospel Story of Jesus Christ in stained-glass windows."
La plaza de Bib-Rambla, o de Bibarrambla, es un espacio público situado en la ciudad
española de Granada, en Andalucía.
Su origen se remonta al periodo nazarí, debiendo desempeñar un papel importante debido a su proximidad al núcleo comercial y mercantil de la ciudad sito en la Alcaicería y en el Zacatín, en cuyo conjunto de pequeñas y entramadas calles se fraguaba la vida comercial de la ciudad.
Si bien en la época musulmana fue escenario de los intercambios comerciales, en otros periodos fue en esta plaza donde se desarrollaban justas, corridas de toros y fiesta en general, aunque poco a poco cambió su importancia y al igual que numerosas plazas y calles de la ciudad de Granada fue objeto de profundas transformaciones urbanísticas.
En su configuración actual es una plaza de corte rectangular presidida por la fuente de los Gigantes de motivos paganos y detalles bucólicos propios de una plaza comercial. En los extremos de la plaza se halla decorada por farolas fernandinas de hierro de finales del siglo XIX provenientes de una fundición hispalense.
es.wikipedia.org/wiki/Plaza_de_Bib-Rambla
www.granada.info/plaza-bib-rambla
rinconesdegranada.com/plaza-bib-rambla
The Plaza de Bib-Rambla, or Bibarrambla Square, is a public space located in the Spanish city of Granada, in Andalusia, Spain.
Spanish city of Granada, in Andalusia.
Its origins date back to the Nasrid period, and it must have played an important role due to its proximity to the commercial and mercantile centre of the city, located in the Alcaicería and the Zacatín, where the commercial life of the city was forged in a series of small, interwoven streets.
Although in the Muslim period it was the scene of commercial exchanges, in other periods it was in this square where jousting, bullfighting and festivities in general took place, although its importance gradually changed and, like many other squares and streets in the city of Granada, it underwent profound urban transformations.
In its current configuration it is a rectangular square presided over by the fountain of the Giants with pagan motifs and bucolic details typical of a commercial square. At the ends of the square it is decorated with late 19th century iron lampposts from a foundry in Seville.
La Fuente de Los Gigantones se ha convertido en uno de los puntos de encuentro más concurridos de Granada. Se sitúa en la Plaza de Bib-Rambla, en el lugar que ocupó la fuente del leoncillo, que existió desde poco después de la conquista hasta mediados del siglo XIX.
La Fuente de Los Gigantones, data de la segunda mitad del siglo XVII y se construyó para el compás del Convento de los Agustinos Calzados. El convento, que estuvo situado en el solar que hoy ocupa el Mercado de San Agustín, tuvo que ser abandonado por los monjes con la desamortización en el siglo XVIII. Las autoridades republicanas lo derribaron, salvando esta fuente monumental que trasladaron al paseo del Salón, donde hoy se encuentra la Fuente de Las Granadas. Allí estuvo hasta que se trasladó en 1892 al final del Paseo de la Bomba, dejando paso al Monumento de Isabel la Católica y Colón, con motivo del cuarto centenario del descubrimiento de América. En 1940 la Fuente de Los Gigantones se trasladó a la Plaza de Bib-Rambla, terminando (por ahora) su largo recorrido por Granada.
rinconesdegranada.com/fuente-de-los-gigantones
Consta de una base con una gran pila en forma trebolada, sobre la cual en el centro hay un fuste con bajorrelieves que representan el Sol, la Luna, la Iglesia y el Corazón, en el cual se apoya la primera taza, sobre cuatro Gigantones con caras grotescas.
Esas caras vienen a significar el pecado, pues debemos pensar que el fin original de la fuente era la de presidir el claustro de un convento.
Los Gigantones tienen entre sus pies peces y de sus bocas salen caños con agua. Tienen todos uno de sus brazos sobre la cabeza aguantando la primera taza de la fuente.
Quizás estos Gigantones sean la parte más significativa de la fuente y al mismo tiempo la más enigmática en cuanto a su significado.
La primera taza es completamente lisa, y tiene mascarones de los que salen otros caños de agua que se intercalan con los de los Gigantes.
El fuste de columna entre la primera y la segunda taza, está decorada con relieves de mujeres semidesnudas que representan la fecundidad y la prosperidad.
En un segundo nivel, tenemos una taza algo más pequeña, y con decoración gallonada, también con mascarones de los que sale agua.
Coronando el conjunto la figura de Neptuno con un tridente en una de las manos y la otra señalando al cielo, sobre un bulbo de flores, y una pieza cuadrada con relieves de angelotes.
www.granadaporelmundo.com/fuente-de-los-gigantones/
The Fuente de Los Gigantones has become one of the busiest meeting points in Granada. It is located in the Plaza de Bib-Rambla, on the site of the former lion fountain, which existed from shortly after the conquest until the middle of the 19th century.
The Fountain of Los Gigantones, dating from the second half of the 17th century, was built for the compass of the Convent of the Agustinos Calzados. The convent, which was located on the site now occupied by the Mercado de San Agustín, had to be abandoned by the monks with the disentailment of the monks in the 18th century. The Republican authorities demolished it, saving this monumental fountain which they moved to the Paseo del Salón, where the Fuente de Las Granadas stands today. It remained there until it was moved in 1892 to the end of the Paseo de la Bomba, making way for the Monument of Isabel the Catholic and Columbus, on the occasion of the fourth centenary of the discovery of America. In 1940 the Fuente de Los Gigantones was moved to the Plaza de Bib-Rambla, ending (for now) its long journey through Granada.
Translated with www.DeepL.com/Translator (free version)
It consists of a base with a large trefoil-shaped basin, on the centre of which there is a shaft with bas-reliefs representing the Sun, the Moon, the Church and the Heart, on which the first cup rests on four giants with grotesque faces.
These faces come to signify sin, as we must think that the original purpose of the fountain was to preside over the cloister of a convent.
The giants have fish between their feet and water spouts coming out of their mouths. They all have one of their arms above their heads holding the first cup of the fountain.
Perhaps these giants are the most significant part of the fountain and at the same time the most enigmatic in terms of its meaning.
The first bowl is completely smooth, and has masks from which other water spouts emerge and are interspersed with those of the giants.
flickriver.com/photos/javier1949/popular-interesting/
MUDEC Museo delle Culture -Museo de las Culturas-
Via Tortona, 56, Milano, Milán
Arquitectos: David Chipperfield Architects: David Chipperfield, Giuseppe Zampieri, Cristiano Billia, Oliver Ulmer. Responsables de Proyecto: C. Billia, G. Sirica, O. Ulmer. Colaboradores: Piuarch (concurso), F & P Architetti, Alberto Izzo & Partners. Iluminación: Ove Arup & Partners, Mario Nanni Progettista. Estructura y fachada: Stahlbau Pichler
Concurso 1999-2000 Proyecto 2001-2007 Ejecución: 2008-2013 Inauguración 2015
Promotor: Ayuntamiento de Milán – Dirección de Museos
MUDEC nace en el marco de la operación de recuperación en uno de los barrios más activos de la ciudad de Milán, la zona de Tortona ubicada al sur-oeste de la ciudad ocupada por fábricas abandonadas, monumentos reales de la arquitectura industrial, que se están convirtiendo en talleres, estudios y nuevos espacios de creación. El proyecto del Museo de las Culturas tiene origen en los años 90 cuando el Ayuntamiento de Milán compra la antigua instalación industrial de Ansaldo para destinarla a actividades culturales. Las fábricas desmontadas, monumentos de arqueología industrial, fueron transformadas en laboratorios, estudios y nuevos espacios creativos, el Centro de Estudios Avanzados de Arte Visual (CASVA), el Centro de las Culturas No Europeas y el Nuevo Museo Arqueológico.
En este escenario el Ayuntamiento de Milán proyecta un polo multidisciplinar dedicado a los diferentes testimonios y culturas del mundo, sede expositiva de las colecciones etnográficas de la ciudad.
El visitante del Museo de las Culturas podrá ver grandes muestras internacionales adaptadas a través de los diferentes lenguajes artísticos, conocer el patrimonio etno-antropológico de las colecciones del Ayuntamiento de Milán formadas por más de 7000 obras de arte, objetos de uso, tejidos e instrumentos musicales provenientes de todos los continentes, y participar de la programación de eventos e iniciativas a cargo de las comunidades internacionales presentes en el territorio.
El proyecto arquitectónico se debe al diseño del estudio de arquitectura dirigido por el británico David Chipperfield que ganó un concurso internacional organizado por el Ayuntamiento de Milán. La arquitectura del edificio también refleja las innumerables almas que se alojan en él. Se desarrolla dentro de un gran patio, detrás de los volúmenes de los antiguos edificios industriales, y se caracteriza por sus volúmenes cúbicos, cajas revestidas en zinc-titanio cuya apariencia se asemeja a la de las antiguas plantas de fabricación, y por una estructura de cristal - iluminada las 24 horas– que emerge geométricamente en el área que lo alberga y se presenta muy diferente a los volúmenes adyacentes. Su elemento distintivo es su núcleo central de forma libre y orgánica, que genera una jardín interno, con forma de "flor", una plaza cubierta que es el lugar de encuentro de las culturas y las comunidades.
Dentro del edificio se extienden diferentes espacios que ofrecen múltiples propuestas culturales y de servicios, distribuidos en 17.000 m2. La planta baja se destina a la recepción, y en torno a un hall de entrada con una gran escalera principal, se desarrollan los distintos espacios destinados a tienda de diseño, cafetería, taquilla, guardarropa, sala de conferencias-espacio plurifuncional, “el Foro de las Culturas”, aula didáctica, laboratorio de restauración y depósitos, con acceso en grupos, y oficinas.
El área expositiva del Museo se sitúa en la primera planta alrededor de una gran plaza central cubierta, de forma orgánica, "núcleo" real y a su alrededor se establece el recorrido museístico con las salas destinadas a la colección permanente y las dedicadas a las muestras temporales organizadas en grupos rectangulares adyacentes entre sí en orden jerárquico, diseñados para dar la posibilidad de optar con diferentes ambientes y dar cabida a la rotación de las colecciones en el museo, manteniendo un idea de continuidad espacial. El auditorio para 300 plazas completa el espacio. La plaza es un elemento sorprendente, un recinto curvilíneo revestido en vidrio esmerilado con superficies parabólicas, que le da con una esplendida luminosidad natural, que actuará como una linterna para la ciudad en las horas de la noche Un espacio diseñado en contraposición a la geometría cartesiana de las "cajas" que lo circundan.
En la segunda planta se sitúa el restaurante, MUDEC Club, que ofrece vistas inéditas del edificio y del área que lo rodea y está destinado a albergar eventos vinculados al mundo del arte: actuaciones artísticas, presentaciones y talleres.
La estructura de acero de la gran "linterna" central y las fachadas fueron hechas por Stahlbau Pichler, siguiendo un diseño tan limpio como visualmente complejo. La linterna está formada por dos capas de materiales translúcidos. El muro cortina exterior está hecho de perfiles de acero y de aluminio pre-pintado. El acristalamiento se compone de dos capas de vidrio con una capa intermedia de PVB y un panel interior que absorbe calor. La rejilla de suelo tiene un blanco de malla 44 x 44 acero pintado previamente en color blanco; sus juntas horizontales están selladas con silicona. La estructura de acero se trasdosa mediante barras de acero pintado en blanco con el fin de rigidizarla.
En planta baja, el techo y las superficies son de hormigón armado recordando la atmósfera de Ansaldo. Los locales se pintan de blanco para dar mayor luminosidad. El suelo es de piedra de basalto gris oscuro del Etna. El color oscuro de la planta baja destaca la ligereza de nivel superior. Dos plantas subterráneas están dedicadas a aparcamiento. En la planta superior, el bar y el restaurante también son de cristal. Las galerías rectangulares están construidas con hormigón in situ, sobre una losa apoyada en columnas de 80 cm de diámetro.
La inauguración oficial del Museo de las Culturas tuvo lugar el 27 de octubre de 2015, tras una apertura preliminar en marzo de este año con motivo de la EXPO de Milán, a pesar de que David Chipperfield Architects no ha tenido intervención en la supervisión artística del diseño de la exposición permanente y a pesar del que el Ayuntamiento de Milán no ha corregido los defectos en la ejecución que la Dirección facultativa ha venido denunciando en los últimos dos años y que está en litigio en los Tribunales de Justicia milaneses, por ello David Chipperfield se ha negado a asistir a la inauguración. Estos supuestos defectos incluyen un suelo de piedra que Chipperfield calificó de "inaceptable" a principios de este año. La superficie resultó arañada, manchada y las piezas mal alineadas. Ofreciéndose a cubrir la mitad del costo para remplazar el solado.
www.plataformaarquitectura.cl/cl/765090/mudec-david-chipp...
www.bmiaa.com/mudec-museum-of-cultures-in-milan-by-david-...
www.inexhibit.com/case-studies/milan-mudec-museum-david-c...
www.dezeen.com/2015/10/28/david-chipperfield-boycotts-ope...
Cast iron rectangular waffle iron. Clamshell type makes 4 rectangular waffles cast in the shapes of diamonds, dots, stars or hearts. "Russell & Beach/ CHESTER CONN" cast on outside with floral motif & cross hatched background. Missing the heating frame used to hold the iron above coals to heat the iron. Halves are separable at hinge. Mildly rusted. OL 9 1/4; OW 5 3/4
ACC# 79.363
See flic.kr/s/aHsm5dTDVz for additional pictures inside the Annex.
(Photo credit Bob Gundersen www.flickr.com/photos/bobphoto51/albums).
Under the Old Kingdom, wooden coffins were rectangular in shape. Stone sarcophagi were exclusively used for high-ranking and royal individuals. The dimensions of wooden coffins changed over the course of the dynasties. Originally coffins, like the one exhibited here, were short almost square and designed to hold a crouching body. Later coffins became longer and narrower with the deceased generally lying on their side.
3-4th dynasties
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021