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The Cathedral of Monreale, also called Santa Maria la Nuova, is a Sicilian masterpiece built during the Middle Ages. Is one of the best examples of coexistence between Islamic, Byzantine and Romanesque cultures. The church was founded by the Norman king William the II between 1174 and 1189, at the same time with the Abbey, the Royal Palace and the Archbishop’s Palace with which it constitutes a complex, expanded during the sixteenth and seventeenth centuries. The external part of the Cathedral shows its Arab-Norman nature, with arches, windows and coloured marbles which are typical expressions of that kind of architecture. ..
Built around 1180 and is dedicated to the Apostle Andrew. The church is exceptionally well preserved and is one of the most distinctive stave churches in Norway. Some of the finest features are the lavishly carved portals and the roof carvings of dragons's heads. The stave churches are Norway's most important contribution to world architecture and Norway's oldest preserved timber buildings.
North Avenue Beach
June 26th, 2016
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Building with 476 apartments that looks like the figure 8 from above (built 2010). A café, a preschool, shops and offices are placed at the base of the building. You can bike from the ground up to the tenth floor. Award winner in the category best housing project in the World Architecture Festival in Barcelona 2011. Architect: BIG, Bjarke Ingels Group, Denmark.
(In the World Architecture Festival 2008 the architects won the award for the housing project The Mountain.)
www.big.dk (website in English)
(to see further pictures and read other information please go to the end of page!)
Flaktowers
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
The Vienna flak towers are six large, of reinforced concrete erected defensive and protective structures in Vienna, which were built in the years 1942-1945 as giant bomb shelters with fitted anti-aircraft guns and fire control. The architect of the flak towers was Friedrich Tamms (1904-1980).
Flakturm, Arenbergpark
Image: Terrace of the flak tower in Arenbergpark
The system of the Vienna flak towers consists as a whole of six buildings, three turrets, each with a Feuerleitturm (fire-control tower). The three bunker pairs are arranged in a triangle in the approximate middle of which the Stephansdom is situated. The towers are of different heights, but their upper platforms are in exactly the same altitude, so that an overall coordination of air defense was possible. The maximum operating radius of the four main guns (12.8 cm twin) of each tower was under ideal conditions 20 km. The smaller platforms of combat and fire-control towers were provided for 2 cm anti-aircraft guns, but they were never used in Vienna. In addition to its military crew the flak towers in Vienna served as makeshift hospitals, housed radio stations and partly war-relevant technical companies and offered on a large scale air raid shelters for the population.
Flakturm Augarten
Picture: Flakturm, Augarten
After the war, the Red Army undertook blasting tests in Gefechtsturm (flak tower with battle platform) Augarten, but a removal of the towers failed because of the proximity to residential areas. Nowadays, a removal of the towers would be possible, but now existing only an official decision as to the two anti-aircraft towers in Augarten from 5 April 2000 (GZ 39.086/2/2000) because all six buildings ex lege have been put under monument protection. Today, the towers are partially owned by the City of Vienna and partly owned by the Republic of Austria. There were repeatedly attempts to rebuild the flak towers and make it usable. The ideas range from depot for important backup data to a café or hotel.
Planning
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark - Notstiege (Emergency flight of stairs)
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Elevator shaft to the left, original instructions for lift usage right
After the battles of World War II also spread more and more to Vienna, Adolf Hitler ordered on 9 September 1942 the construction of flak towers in Vienna. The Air Force leadership provided for this purpose as building sites the Schmelz (Vienna), the Prater and Floridsdorf but Hitler rejected these places since the city center would not have been adequately protected because of the large distances. After discussions with Reichsstatthalter (Reich Governor) Baldur von Schirach, the final locations were determined. Instead of the Augarten, however, was initially the Roßauer barracks under discussion. The decisive factor for the choice of the places were on the one hand, the easy availability of the building ground and on the other hand the possibility to establish railway connections. The plan provided after the victorious end of the war to disguise the flak towers with marble and devote them as monuments to the fallen German soldiers. As with all the flak towers Friedrich Tamms was responsible for the planning, he was represented in Vienna by Anton Ruschitzka, construction management held Franz Fuhrmann from Vienna's city building department. The military leadership rested with Major Wimberger, which, however, had no mission staff. The material procurement was carried out by the Organisation Todt.
Construction
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Emergency Exit Photo: Flakturm, Arenbergpark
With the construction of the flak towers the companies Philipp Holzmann and Gottlieb Tesch were commissioned, smaller firms being integrated via joint ventures. Since the availability of local workers due to conscription declined steadily, more and more prisoners of war, foreign and forced laborers were used in the course of the war. Cement was delivered primarily from Mannersdorf at Leithagebirge, to a lesser extent from Rodaun (situated in the outskirts of Vienna). The gravel stemmed from the gravel pits Padlesak in Felixdorf and Gustav Haager at Heidfeld at the Bratislava railway (Pressburger Bahn), about in the area of today's airport Wien-Schwechat. Sand was delivered in ships over the Danube Canal, which is why in the area of Weißgerberlände sand silos of the United Baustoffwerke AG were built. In this area was already in 1918 a feeder track of the tram through the Drorygasse. Although this was already in 1925 shut down it was restored in 1941 and enlarged in the following year after the construction of a new silo to two tracks. For the then due to the excavation of the foundations coming up overburden, at the Kratochwijlestraße (then Weissenbachstraße) in 22 District was created a landfill, which also got a tram connection.
This report is based on an article in the
WIKIPEDIA - The Free Encyclopedia
and is licensed under the GNU license
Free Documentation Creative Commons CC -BY- SA 3.0 Unported.
On Wikipedia there is List of the authors Available .
de.wikipedia.org
The monstrous remnants of the "Third Reich"
District II (Leopoldstadt), anti-aircraft towers in the Augarten, tram line 31 from metro station Scots ring/Schottenring (U2, U4).
On 15 March 1938 gathered some 200 000 Wiener (Viennese people) on Heldenplatz in order to celebrate the "Anschluss" of Austria to the so-called fatherland Germany, something, since the end of the first World War I many had been longing for. Adolf Hitler himself appeared on the balcony of the Neue Burg and announced: "As leader and Chancellor of the German nation and the Reich I report before story now the entry of my home in the German Reich". Then he boarded a plane back to Germany, the rest, as they say, is history. A few years later the magnificent Heroes Square (Heldenplatz) was dug up to plant vegetables there, they needed food for the distraught people who suffered the privations in Hitler's zusammenbrechendem (breaking down) "millennial Reich".
Right: Gefechtsturm in the Augarten
In Leopoldstadt
Below: The Leitturm (control tower) in Arenbergpark
In III. District highway (Landstraße).
The already existing and sometimes bombastic Viennese architecture the occupiers seems to have pleased, no major buildings were added during their reign. On 9 September 1942, however, Hitler decreed that the city center of Vienna like in Berlin and Hamburg should be protected by some huge flak towers, three pairs should form a defensive triangle, St. Stephen's Cathedral was the center. 1943/44, the German troops began the construction of two flak towers in the Augarten and defaced in this way Austria's oldest still existing and in 1712 laid out baroque garden. Another pair of flak towers emerged in Arenberg Park in III. District (Landstraße), a third near the Mariahilferstraße (in Esterházypark and in the courtyard of the barracks Stiftskaserne) in the VI. resp. VII. District (Mariahilf/Neubau). The towers have been made of almost indestructible, 2.5 to 3.5 meters thick reinforced concrete and were self-sufficient, and they possessed their own water and power supply, first aid station and air filters if it should come to a gas attack. Each pair of flak towers contained a big, provided with a heavy gun flak tower and a smaller control tower for communication. The first is either a square tower in the style of a fortress, like the one in the Arenbergpark (neunstöckig - nine storeys), 41.6 meters high, 57 meters in diameter) or a round tower, in fact, sixteen -sided, as in the Augarten Park and the yard of the Stiftskaserne Barracks (zwölfstöckig - twelve storeys, 50.6 meters high, 43 meters in diameter). The heaviest artillery gun (105-128 mm) was standing on the roof, on the projecting balconies below there were lighter guns (20 to 30 millimeters). The Leittürme, from which the air defense was coordinated, were all rectangular (neunstöckig - nine storeys, 39 to 51.4 meters high, 24 to 39 feet long) and equipped with a lighter gun, they possessed communication devices and searchlights on the roof. Toward the of the war the towers only just were functional. They also served as air-raid shelter for the people in the area and each tower had space for 30 000 people. In the event that the war ended with a victory, the architect, the builder of the Reichsautobahn Friedrich Tamms, already had prepared designs to dress up the towers with black marble plates in which the names of the dead German soldiers should be engraved in gold letters. So the towers would also have been victory and war memorials (and thus in a strange way similar to the Mausoleum of Theodoric in Ravenna or the Castel de Monte in Apulia).
In the bureau of an architect of Berlin were even found plans to demolish the Jewish Quarter in the Leopoldstadt and to build a huge Nazi forum. Today, however, there is in Leopoldstadt again a thriving Jewish life and the flak towers are frozen monuments to the darkest times of Viennese history (in fact, the Russians tried to destroy the tower in Augarten with dynamite, which later on was mistaken for the vandalism of a few schoolboys, by mistake a forgotten weapon depot setting on fire).
In a famous quote Hitler Vienna compared with a pearl, which he wanted to give a socket. Towards the end of war, however, this socket only consisted of bombed-out buildings and abandoned flak towers, silent witnesses of the delusion of their builder. As a result, only the Leitturm was used in Esterhazy Park, and today in it the house of the sea (Zoo - Haus des Meeres) is accommodated. Outside there is a climbing wall with 25 different routes, and the vertical wall and the projecting balconies give a perfect imitation of an overhanging cliff of 34 meters of height. A conservatory (or biotope) with a miniature rain forest along with monkeys and birds has been added on one side; it is entered through a door that only with difficulty could be broken in the two and a half meters thick reinforced concrete, but this also ensures a uniform temperature for aquariums and vivariums in the tower.
The stable temperatures also have the Museum of Applied Arts (MAK) brought to take advantage of the flak tower in Arenberg Park as a magazine and occasional exhibition space; in the meantime it is known as Contemporary Art Tower (CAT).
A former air-raid shelter at the base of the Leitturm in Esterhazy Park now contains the Museum of Medieval legal history: the history of torture
Excerpts from
Duncan J. D. Smith; Only in Vienna
A travelling guide to strange places, secret places and hidden attractions
Translated from English by Brigitte Hilzensauer
Photographs by Duncan JD Smith
"The streets of Vienna are paved with culture, the streets of other cities with asphalt". Karl Kraus (1874-1936)
Vienna is certainly one of the greatest and also the most homogeneous capitals in Europe. And it is one of the most fascinating. The overabundance of travel guides that are out there to buy, presents the not too demanding visitor a magical (and easily accessible) abundance of museums, churches, palaces and culinary venues, and they recount the history of the city since the times of the Romans over those of the Habsburg Empire to the present.
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
Total, totalitarian, dead
Picture: Flak tower in 1943 /44, Augarten
At the zero point of the knowledge about the progress of the world stands since 11 September 2001 "Ground Zero". The debris field of the World Trade Center was used as a metaphor, which for its part marks a zero point. "Ground Zero" is called the area that lies in the center of a nuclear explosion. In Hiroshima and Nagasaki this area has been explored, the experiments that began with Albert Einstein's warning of a nuclear policy of Nazi Germany, were successful beyond measure. The name for the nuclear program, "Manhattan Project". With the beginning of the new millennium "Ground Zero" is real returned to where it had once taken its nominal starting point. The skyscraper obviously is able to stimulate the imagination of physicists, ballistics and aeronauts. In the skyscraper the obsessions of the 20th century are concentrated, self-sufficiency and utopia become one in the sky billowing tower. It is the exalted and the sublime. It provides a beacon, of the construction as well as of the destruction.
As the World Trade Center each of the Viennese "flak towers" come along as pairs: One serves as control tower, the other as a flak tower. The central component is the platform, it was needed in high altitudes in order to have a clear field of fire over the city. The tower architecture, which thereby became necessary, one used for bunker systems, no fewer than 40,000 people should here find shelter. For other facilities there was also space: the Gaupropagandaleitung (Regional propaganda direction) for example, the radio station, a munitions factory. At three locations in the city - the triangle that they abzirkelten (encircled), took in Vienna's historic center - in the years 1943/44 had established an own self-contained world, with it corresponded an outside, the world of total war. The flak towers gave this world the architectural icon.
On 14 February 1943, the British Air Force had carpet bombings on German cities announced after it adversary those commitments to civility, just in war of some validity, namely to protect non- military targets, long ago had abandoned. It was a strategy that should give World War II a decisive turn. The Germans had their production concentrated on weapons with immediate penetrating power, especially on fighter planes and tanks. The Allies, however, swore on sustainability, on long-range bombers that now more and more were used. Against such so-called "flying fortresses" should prepare the city's flak towers.
On 18 February 1943 already, the Nazi regime had reacted propagandistically. Joseph Goebbels delivered in the Sportpalast (Sports Palace) those infamous speech in which an unleashed crowd at the top of its voice loud the hysterical question "Do you want total war?" applauded. From then on, the action would no longer overridingly occur on the fronts. Now, as Goebbels put it, the "phalanx of the homeland" was at stake. The war would be carried to the cities. In their midst, in the urban milieu that would now lose all nonchalance and any worth of life. Also, and just that is what the flak towers stand for: their comfort is the security wing, their promise the ammunition depot. They guarantee offensive and defensive in one. In this hard as reinforced concrete alignment, imagined the regime each of every Volksgenossen (member of the German nation).
The flak towers are the architecture of total war par excellence: monumental exclamation marks for military preparedness, towering icons of the resistiveness, uniform archetypes of a technical, an instrumental progress, to which the Nazi state with due atavism was always committed. Furthermore, comes to some extent the domestic political effect: The flak towers are citadels against the own population, reduits in the face of a psychological and social situation, which solely by forced violence, by martial law and concentration camps could be overmastered.
The prototype of the flak towers built up in Berlin, as well as their principle was conceived in the capital, especially by Albert Speer, the Minister for the war economy. But as a kind of urban identification mark they stand in Vienna, and also for this the logic of total war can be used. It is the logic of destruction, the so-called "Nero-command", which after Hitler's disposal would have provided the destruction of all remaining infrastructure in the German Reich. It is the logic of a perverted Darwinism, which would have applied the dictum of unworthy life in the moment of defeat on the own population.
In one of his table talks in May 1942, Hitler blustered about the "huge task to break ... the supremacy of Vienna in the cultural field ...". The hatred toward the city of his youth was notorious, and one may assume that the flak towers, whose placement the "Führer" personally ordered, the enemy, in a manner of speaking, definitely should stake out a target area. Because naturally, the towers would increasingly attract attacks on themselves. But they have the war unscathed as hardly another building survived. That they are standing for the long shot, the totalitarism this very day is clear. To eliminate them, would mean to turn the city with them in rubble.
A tear in urbanity. Where facades should align in rigid order, an anomaly has taken root, emerging from the ground like the remnant of a shattered world. Architecture, once unyielding and domesticated, seems to have lost its footing against the intrusion of an unknown fragment. A shard of steel and glass, like a prism from another dimension, has inserted itself into reality without warning.
Light grazes its sharp surfaces, unveiling a paradoxical geometry, a distortion where the urban landscape is reflected. But are these reflections still true to reality, or are they mere illusions projected by a material that does not belong to our world? Around it, silence weighs heavy. Mist rises from the ground, a sign of an impending collapse, a transition underway between two states of existence.
This fractured monolith carries the memory of an elsewhere. It evokes both a fall and an ascension, a rupture and a revelation. Could it be a wreck from the future, an architecture that has yet to find its era? Or the awakening of a mineral entity attempting to tear through the veil of the rational world?
North Avenue Beach
Chicago, IL
February 21st, 2017
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Oslo Opera House in the night.
The Oslo Opera House (in Norwegian, Operahuset) is the seat of The Norwegian National Opera and Ballet, and the national opera theatre in Norway. The building lies in Bjørvika, in the center of Oslo, at the head of the Oslofjord. Its builder was Statsbygg, a government-run property owner. The architects were the Norwegian firm Snøhetta who were also the architects of the Bibliotheca Alexandrina (the Library of Alexandria) in Egypt. The theatre designers were Theatre Projects Consultants based in London, the acoustic designers were BrekkeStrandArup, a joint venture between local consultant Brekke Strand Akustikk and international acousticians Arup Acoustics. Norwegian construction company Veidekke was awarded one of the largest building contracts of the project. The structure provides a total area of 38,500 m² and includes 1,100 rooms, one of which has 1,350 seats and another has up to 400 seats. Total expenditures for the building project were planned at 4.4 billion NOK, but finished ahead of schedule, and 300 million NOK under budget.
The Opera House was finished in 2007 with the opening event held on 12 April 2008. King Harald V of Norway opened the Opera House that evening at a gala performance attended by national leaders and royalty, including President Tarja Halonen of Finland, Chancellor Angela Merkel of Germany and Queen Margrethe II of Denmark. The main stage is 16 meters wide, and can be made up to 40 meters deep.
The Opera won the culture award at the World Architecture Festival in Barcelona in October 2008. Jury member Sir Peter Cook said of the Opera House that it "...in its scale, ambition and quality has raised the bar for Norwegian architecture."
More information on the building from Snøhetta architects.
HDR from three handheld exposures (+/- 2 EV). Processed and tonemapped using Photomatix and noise reduction in Noiseware.
Best seen large and on black.
Budapest, Terézváros.
The notable Hungarian photographer, Mai Mano's former home and studio, now The Hungarian House of Photography, exhibition hall, bookshop and café.
Architects: Nay & Strausz, 1894. Eclectic Neo-renaissance style.
Note the cast iron windows of the Sunlight studio and the frescos around it, with the attributes of painting, photography and chemistry.
Statues: Róna józsef
www.flickr.com/photos/nora-meszoly/sets/72157645682699802
www.flickr.com/photos/nora-meszoly/sets/72157647652442301
Mai Manó House, The Hungarian House of Photography operates in a studio-house built for the commission of Mai Manó (1855-1917), Imperial and Royal Court Photographer. His eight-story studio-house and home was built in fourteen months, in 1893-94.
This special, eight-story neo-renaissance monument is unique in world architecture: we have no knowledge of any other intact turn-of-the-century studiohouse. In addition, it serves its original goal, the case of photography again.
Mai Manó was a professional photographer and specialist, in his time he was one of the best specialists of child portraits. His status in the professional community of that time is uncontested. He was also the founder and editor of the periodical called A Fény (The Light, launched in 1906)
The building's richly decorated neo-renaissance façade clearly served ideological purposes: Mai Manó wanted to lend a past to the young trade, hardly considered to be a form of art by anyone at that time. Take the majolica putti between the ground floor and the mezzanine or the façade paintings on the third floor showing the "six muses of photography".
Actual photographing took place in the Sunlight-studio on the second floor, we restored in 1996-97. During the restoration, we found the original frescoes hiding bethind the white wallpaper for decades. These used to serve as background for Mai's portraits. His studio worked in the house for four decades, until 1931. It was followed by a luxury-bar, Arizona, which was closed in 1944.
After the Second World War, a number of institutions and companies moved into the house and a few private apartments were separated as well. In spite of all the vicissitudes, the house kept its original character. It was declared a piece of national heritage in 1996 considering its special architecture, ornaments and industry-historical significance.
www.maimano.hu/maimanohaz_en.html
www.maimano.hu/maimanohaz_02_en.html
Chicago, IL
June 21st, 2012
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Wissembourg (in French: Wissembourg, pronounced [visɑ̃buʁ]; in South Franconian: Weisseburch, pronounced [ˈvaɪsəbʊʁç]; in German: Weißenburg) is a small town and commune situated on the little River Lauter close to the border between France and Germany, in easternmost Alsace région, approximately 60 km north of Strasbourg and 35 km west of Karlsruhe. Wissembourg is a sous-préfecture of the Bas-Rhin département. The name Wissembourg is merely a Francosized version of Weißenburg (Weissenburg) in German meaning, "white castle".
The picturesque town is set in a landscape of rolling wheat fields retains its former Augustinian convent (1279) with its large-scale gothic church, now the parrish church Saints-Pierre-et-Paul; other medieval churches are the Église Saint-Jean, and the Église Saint-Ulrich. Its Grenier aux Dîmes (tithe barn) belonging to the Abbey is 18th century but an ancient foundation. Noteworthy houses are the medieval "Salt house", the Renaissance "House of l'Ami Fritz" and the imposing classicist City Hall, a work by Joseph Massol. Also Visiting the Pastery Shop Rebere as it's one of the oldest, and the top 100 in French Pastery.
Last week, I made a little trip to this wonderful little town.
Vor einer Woche habe ich einen kleinen Ausflug nach Weißenburg gemacht, das Wetter war traumhaft schön an dem Abend... heute regnet es wieder nur...
Weißenburg (frz. Wissembourg [visɑ̃ˈbuʀ], hergeleitet von rheinfränkisch wiss - weiß) ist eine Stadt im Elsass, Frankreich.
Die Stadt Weißenburg ist Sitz der Unterpräfektur (Sous-préfecture) des Arrondissements Wissembourg im Département Bas-Rhin in der Region Elsass. Das Arrondissement gliedert sich in fünf Kantone mit der Stadt Weißenburg als Hauptort (chef-lieu) des gleichnamigen Kantons.
Wissembourg ist eine der architektonisch reichhaltigsten Städte der nördlichen Elsasses. Die Altstadt ist heute noch teilweise von Resten der alten Stadtbefestigung umschlossen.
Zu den sehenswertesten Gebäuden der Stadt zählen das „Salzhaus“ (15. Jahrhundert) mit seinem auffallenden Dach, das Maison de l'ami Fritz (um 1550) mit seinem aufwändigen Erker und das klassizistische Rathaus (erbaut 1741 bis 1752), ein Hauptwerk des Straßburger Stadtarchitekten Joseph Massol.
Im Musée Westercamp werden archäologische Funde aus der Gegend, mittelalterliche Kunstwerke sowie Dokumente zur Stadtgeschichte und Heimatkunde ausgestellt.
The Guggenheim Museum Bilbao is a museum of modern and contemporary art, designed by Canadian-American architect Frank Gehry, and located in Bilbao, Basque Country, Spain. The museum was inaugurated on 18 October 1997 by former King Juan Carlos I of Spain. Built alongside the Nervion River, which runs through the city of Bilbao to the Cantabrian Sea, it is one of several museums belonging to the Solomon R. Guggenheim Foundation and features permanent and visiting exhibits of works by Spanish and international artists. It is one of the largest museums in Spain.
One of the most admired works of contemporary architecture, the building has been hailed as a "signal moment in the architectural culture", because it represents "one of those rare moments when critics, academics, and the general public were all completely united about something." The museum was the building most frequently named as one of the most important works completed since 1980 in the 2010 World Architecture Survey among architecture experts.
n 1991, the Basque government suggested to the Solomon R. Guggenheim Foundation that it would fund a Guggenheim museum to be built in Bilbao's decrepit port area, once the city's main source of income. The Basque government agreed to cover the US$100 million construction cost, to create a US$50 million acquisitions fund, to pay a one-time US$20 million fee to the Guggenheim and to subsidize the museum's US$12 million annual budget. In exchange, the Foundation agreed to manage the institution, rotate parts of its permanent collection through the Bilbao museum and organize temporary exhibitions.
The museum was built by Ferrovial, at a cost of US$89 million. About 5,000 residents of Bilbao attended a preopening extravaganza outside the museum on the night preceding the official opening, featuring an outdoor light show and concerts. On 18 October 1997 the museum was opened by Juan Carlos I of Spain.
The Solomon R. Guggenheim Foundation selected Frank Gehry as the architect, and its director, Thomas Krens, encouraged him to design something daring and innovative. The curves on the exterior of the building were intended to appear random; the architect said that "the randomness of the curves are designed to catch the light". The interior "is designed around a large, light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country". The atrium, which Gehry nicknamed The Flower because of its shape, serves as the organizing center of the museum.
When the Guggenheim Museum Bilbao opened to the public in 1997, it was immediately hailed as one of the world's most spectacular buildings in the style of Deconstructivism (although Gehry does not associate himself with that architectural movement), a masterpiece of the 20th century. Architect Philip Johnson described it as "the greatest building of our time", while critic Calvin Tomkins, in The New Yorker, characterized it as "a fantastic dream ship of undulating form in a cloak of titanium," its brilliantly reflective panels also reminiscent of fish scales. Herbert Muschamp praised its "mercurial brilliance" in The New York Times Magazine. The Independent calls the museum "an astonishing architectural feat". The building inspired other structures of similar design across the globe.
The museum is seamlessly integrated into the urban context, unfolding its interconnecting shapes of stone, glass and titanium on a 32,500-square-meter (350,000 sq ft) site along the Nervión River in the old industrial heart of the city; while modest from street level, it is most impressive when viewed from the river.[15][16] With a total 24,000 m2 (260,000 sq ft), of which 11,000 m2 (120,000 sq ft) are dedicated to exhibition space, it had more exhibition space than the three Guggenheim collections in New York and Venice combined at that time. The 11,000 m2 of exhibition space are distributed over nineteen galleries, ten of which follow a classic orthogonal plan that can be identified from the exterior by their stone finishes. The remaining nine galleries are irregularly shaped and can be identified from the outside by their swirling organic forms and titanium cladding. The largest gallery measures 30 meters wide and 130 meters long (98 ft × 427 ft). In 2005, it housed Richard Serra's monumental installation The Matter of Time, which Robert Hughes dubbed "courageous and sublime".
The museum by night, November 2007
The building was constructed on time and budget, which is rare for architecture of this type. In an interview in Harvard Design Magazine, Gehry explained how he did it. First, he ensured that what he calls the "organization of the artist" prevailed during construction, to prevent political and business interests from interfering with the design. Second, he made sure he had a detailed and realistic cost estimate before proceeding. Third, he used computer visualizations produced by his own Digital Project software and collaborated closely with the individual building trades to control costs during construction.
KLM Royal Dutch Airlines donated $1,000,000 towards its construction.
Credit for the data above is given to the following website:
Chicago, IL
January 29th, 2013
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Fullerton Avenue Beach
Chicago, IL
October 31st, 2014
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Kurilpa Bridge is the world’s largest tensegrity bridge.
The Kurilpa Bridge (originally known as the Tank Street Bridge) is a (A$)$63 million pedestrian and bicycle bridge over the Brisbane River in Brisbane, Queensland, Australia.
The bridge connects Kurilpa Point in South Brisbane to Tank Street in the Brisbane central business district. In 2011, the bridge was judged World Transport Building of the Year at the World Architecture Festival.
Bjerget - the new architectural wonder from BIG - Bjarke Ingels Group. The name means The Mountain. The English name is Mountain Dwellings and it's shortlisted at the World Architecture Awards.
All the flats face south and each has a terrace with grass. There is ample car parking down below, under the mountain.
© All Rights Reserved.
Stock photos of Copenhagen, Denmark.
Architecture & Design
Chicago, IL
5-20-2012
This shot made possible with the help of Nick Ulivieri's lightning tutorial.
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
The Oslo Opera House (in Norwegian, Operahuset) is the seat of The Norwegian National Opera and Ballet, and the national opera theatre in Norway. The building lies in Bjørvika, in the center of Oslo, at the head of the Oslofjord. Its builder was Statsbygg, a government-run property owner. The architects were the Norwegian firm Snøhetta who were also the architects of the Bibliotheca Alexandrina (the Library of Alexandria) in Egypt. The theatre designers were Theatre Projects Consultants based in London, the acoustic designers were BrekkeStrandArup, a joint venture between local consultant Brekke Strand Akustikk and international acousticians Arup Acoustics. Norwegian construction company Veidekke was awarded one of the largest building contracts of the project. The structure provides a total area of 38,500 m² and includes 1,100 rooms, one of which has 1,350 seats and another has up to 400 seats. Total expenditures for the building project were planned at 4.4 billion NOK, but finished ahead of schedule, and 300 million NOK under budget.
The Opera House was finished in 2007 with the opening event held on 12 April 2008. King Harald V of Norway opened the Opera House that evening at a gala performance attended by national leaders and royalty, including President Tarja Halonen of Finland, Chancellor Angela Merkel of Germany and Queen Margrethe II of Denmark. The main stage is 16 meters wide, and can be made up to 40 meters deep.
The Opera won the culture award at the World Architecture Festival in Barcelona in October 2008. Jury member Sir Peter Cook said of the Opera House that it "...in its scale, ambition and quality has raised the bar for Norwegian architecture."
More information on the building from Snøhetta architects.
Chicago, IL
4-16-2012
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
view of Prague, Czech Republic, specifically featuring the Petřín Lookout Tower (Petřínská rozhledna) and the Vltava River.
Even the most beautiful health centre in Sweden? Winner in the category "Best Health Building" at World Architecture Festival 2016. www.worldarchitecturefestival.com/2016-category-winners
Glass facades in different colors that reflects the surroundings. Built in 2016 on pillars over a parking lot in Bergsjön, a suburb of Gothenburg. Health center owned by four of the doctors and one nurse.
Architect: Wingårdh Arkitektkontor (Anders Olausson and Gert Wingårdh).
www.wingardhs.se (website only in English).
Developer: Nötkärnan Vård och Omsorg AB och Bergsjön Vårdcentral och BVC AB.
www.bergsjonvardcentral.se (website only in Swedish).
When fools become great people can only become very small!
(to see further pictures and read other information please go to the end of page!)
Flaktowers
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
The Vienna flak towers are six large, of reinforced concrete erected defensive and protective structures in Vienna, which were built in the years 1942-1945 as giant bomb shelters with fitted anti-aircraft guns and fire control. The architect of the flak towers was Friedrich Tamms (1904-1980).
Flakturm, Arenbergpark
Image: Terrace of the flak tower in Arenbergpark
The system of the Vienna flak towers consists as a whole of six buildings, three turrets, each with a Feuerleitturm (fire-control tower). The three bunker pairs are arranged in a triangle in the approximate middle of which the Stephansdom is situated. The towers are of different heights, but their upper platforms are in exactly the same altitude, so that an overall coordination of air defense was possible. The maximum operating radius of the four main guns (12.8 cm twin) of each tower was under ideal conditions 20 km. The smaller platforms of combat and fire-control towers were provided for 2 cm anti-aircraft guns, but they were never used in Vienna. In addition to its military crew the flak towers in Vienna served as makeshift hospitals, housed radio stations and partly war-relevant technical companies and offered on a large scale air raid shelters for the population.
Flakturm Augarten
Picture: Flakturm, Augarten
After the war, the Red Army undertook blasting tests in Gefechtsturm (flak tower with battle platform) Augarten, but a removal of the towers failed because of the proximity to residential areas. Nowadays, a removal of the towers would be possible, but now existing only an official decision as to the two anti-aircraft towers in Augarten from 5 April 2000 (GZ 39.086/2/2000) because all six buildings ex lege have been put under monument protection. Today, the towers are partially owned by the City of Vienna and partly owned by the Republic of Austria. There were repeatedly attempts to rebuild the flak towers and make it usable. The ideas range from depot for important backup data to a café or hotel.
Planning
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark - Notstiege (Emergency flight of stairs)
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Elevator shaft to the left, original instructions for lift usage right
After the battles of World War II also spread more and more to Vienna, Adolf Hitler ordered on 9 September 1942 the construction of flak towers in Vienna. The Air Force leadership provided for this purpose as building sites the Schmelz (Vienna), the Prater and Floridsdorf but Hitler rejected these places since the city center would not have been adequately protected because of the large distances. After discussions with Reichsstatthalter (Reich Governor) Baldur von Schirach, the final locations were determined. Instead of the Augarten, however, was initially the Roßauer barracks under discussion. The decisive factor for the choice of the places were on the one hand, the easy availability of the building ground and on the other hand the possibility to establish railway connections. The plan provided after the victorious end of the war to disguise the flak towers with marble and devote them as monuments to the fallen German soldiers. As with all the flak towers Friedrich Tamms was responsible for the planning, he was represented in Vienna by Anton Ruschitzka, construction management held Franz Fuhrmann from Vienna's city building department. The military leadership rested with Major Wimberger, which, however, had no mission staff. The material procurement was carried out by the Organisation Todt.
Construction
Flakturm, Arenbergpark
Picture: Flakturm, Arenbergpark
Emergency Exit Photo: Flakturm, Arenbergpark
With the construction of the flak towers the companies Philipp Holzmann and Gottlieb Tesch were commissioned, smaller firms being integrated via joint ventures. Since the availability of local workers due to conscription declined steadily, more and more prisoners of war, foreign and forced laborers were used in the course of the war. Cement was delivered primarily from Mannersdorf at Leithagebirge, to a lesser extent from Rodaun (situated in the outskirts of Vienna). The gravel stemmed from the gravel pits Padlesak in Felixdorf and Gustav Haager at Heidfeld at the Bratislava railway (Pressburger Bahn), about in the area of today's airport Wien-Schwechat. Sand was delivered in ships over the Danube Canal, which is why in the area of Weißgerberlände sand silos of the United Baustoffwerke AG were built. In this area was already in 1918 a feeder track of the tram through the Drorygasse. Although this was already in 1925 shut down it was restored in 1941 and enlarged in the following year after the construction of a new silo to two tracks. For the then due to the excavation of the foundations coming up overburden, at the Kratochwijlestraße (then Weissenbachstraße) in 22 District was created a landfill, which also got a tram connection.
This report is based on an article in the
WIKIPEDIA - The Free Encyclopedia
and is licensed under the GNU license
Free Documentation Creative Commons CC -BY- SA 3.0 Unported.
On Wikipedia there is List of the authors Available .
de.wikipedia.org
The monstrous remnants of the "Third Reich"
District II (Leopoldstadt), anti-aircraft towers in the Augarten, tram line 31 from metro station Scots ring/Schottenring (U2, U4).
On 15 March 1938 gathered some 200 000 Wiener (Viennese people) on Heldenplatz in order to celebrate the "Anschluss" of Austria to the so-called fatherland Germany, something, since the end of the first World War I many had been longing for. Adolf Hitler himself appeared on the balcony of the Neue Burg and announced: "As leader and Chancellor of the German nation and the Reich I report before story now the entry of my home in the German Reich". Then he boarded a plane back to Germany, the rest, as they say, is history. A few years later the magnificent Heroes Square (Heldenplatz) was dug up to plant vegetables there, they needed food for the distraught people who suffered the privations in Hitler's zusammenbrechendem (breaking down) "millennial Reich".
Right: Gefechtsturm in the Augarten
In Leopoldstadt
Below: The Leitturm (control tower) in Arenbergpark
In III. District highway (Landstraße).
The already existing and sometimes bombastic Viennese architecture the occupiers seems to have pleased, no major buildings were added during their reign. On 9 September 1942, however, Hitler decreed that the city center of Vienna like in Berlin and Hamburg should be protected by some huge flak towers, three pairs should form a defensive triangle, St. Stephen's Cathedral was the center. 1943/44, the German troops began the construction of two flak towers in the Augarten and defaced in this way Austria's oldest still existing and in 1712 laid out baroque garden. Another pair of flak towers emerged in Arenberg Park in III. District (Landstraße), a third near the Mariahilferstraße (in Esterházypark and in the courtyard of the barracks Stiftskaserne) in the VI. resp. VII. District (Mariahilf/Neubau). The towers have been made of almost indestructible, 2.5 to 3.5 meters thick reinforced concrete and were self-sufficient, and they possessed their own water and power supply, first aid station and air filters if it should come to a gas attack. Each pair of flak towers contained a big, provided with a heavy gun flak tower and a smaller control tower for communication. The first is either a square tower in the style of a fortress, like the one in the Arenbergpark (neunstöckig - nine storeys), 41.6 meters high, 57 meters in diameter) or a round tower, in fact, sixteen -sided, as in the Augarten Park and the yard of the Stiftskaserne Barracks (zwölfstöckig - twelve storeys, 50.6 meters high, 43 meters in diameter). The heaviest artillery gun (105-128 mm) was standing on the roof, on the projecting balconies below there were lighter guns (20 to 30 millimeters). The Leittürme, from which the air defense was coordinated, were all rectangular (neunstöckig - nine storeys, 39 to 51.4 meters high, 24 to 39 feet long) and equipped with a lighter gun, they possessed communication devices and searchlights on the roof. Toward the of the war the towers only just were functional. They also served as air-raid shelter for the people in the area and each tower had space for 30 000 people. In the event that the war ended with a victory, the architect, the builder of the Reichsautobahn Friedrich Tamms, already had prepared designs to dress up the towers with black marble plates in which the names of the dead German soldiers should be engraved in gold letters. So the towers would also have been victory and war memorials (and thus in a strange way similar to the Mausoleum of Theodoric in Ravenna or the Castel de Monte in Apulia).
In the bureau of an architect of Berlin were even found plans to demolish the Jewish Quarter in the Leopoldstadt and to build a huge Nazi forum. Today, however, there is in Leopoldstadt again a thriving Jewish life and the flak towers are frozen monuments to the darkest times of Viennese history (in fact, the Russians tried to destroy the tower in Augarten with dynamite, which later on was mistaken for the vandalism of a few schoolboys, by mistake a forgotten weapon depot setting on fire).
In a famous quote Hitler Vienna compared with a pearl, which he wanted to give a socket. Towards the end of war, however, this socket only consisted of bombed-out buildings and abandoned flak towers, silent witnesses of the delusion of their builder. As a result, only the Leitturm was used in Esterhazy Park, and today in it the house of the sea (Zoo - Haus des Meeres) is accommodated. Outside there is a climbing wall with 25 different routes, and the vertical wall and the projecting balconies give a perfect imitation of an overhanging cliff of 34 meters of height. A conservatory (or biotope) with a miniature rain forest along with monkeys and birds has been added on one side; it is entered through a door that only with difficulty could be broken in the two and a half meters thick reinforced concrete, but this also ensures a uniform temperature for aquariums and vivariums in the tower.
The stable temperatures also have the Museum of Applied Arts (MAK) brought to take advantage of the flak tower in Arenberg Park as a magazine and occasional exhibition space; in the meantime it is known as Contemporary Art Tower (CAT).
A former air-raid shelter at the base of the Leitturm in Esterhazy Park now contains the Museum of Medieval legal history: the history of torture
Excerpts from
Duncan J. D. Smith; Only in Vienna
A travelling guide to strange places, secret places and hidden attractions
Translated from English by Brigitte Hilzensauer
Photographs by Duncan JD Smith
"The streets of Vienna are paved with culture, the streets of other cities with asphalt". Karl Kraus (1874-1936)
Vienna is certainly one of the greatest and also the most homogeneous capitals in Europe. And it is one of the most fascinating. The overabundance of travel guides that are out there to buy, presents the not too demanding visitor a magical (and easily accessible) abundance of museums, churches, palaces and culinary venues, and they recount the history of the city since the times of the Romans over those of the Habsburg Empire to the present.
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
Total, totalitarian, dead
Picture: Flak tower in 1943 /44, Augarten
At the zero point of the knowledge about the progress of the world stands since 11 September 2001 "Ground Zero". The debris field of the World Trade Center was used as a metaphor, which for its part marks a zero point. "Ground Zero" is called the area that lies in the center of a nuclear explosion. In Hiroshima and Nagasaki this area has been explored, the experiments that began with Albert Einstein's warning of a nuclear policy of Nazi Germany, were successful beyond measure. The name for the nuclear program, "Manhattan Project". With the beginning of the new millennium "Ground Zero" is real returned to where it had once taken its nominal starting point. The skyscraper obviously is able to stimulate the imagination of physicists, ballistics and aeronauts. In the skyscraper the obsessions of the 20th century are concentrated, self-sufficiency and utopia become one in the sky billowing tower. It is the exalted and the sublime. It provides a beacon, of the construction as well as of the destruction.
As the World Trade Center each of the Viennese "flak towers" come along as pairs: One serves as control tower, the other as a flak tower. The central component is the platform, it was needed in high altitudes in order to have a clear field of fire over the city. The tower architecture, which thereby became necessary, one used for bunker systems, no fewer than 40,000 people should here find shelter. For other facilities there was also space: the Gaupropagandaleitung (Regional propaganda direction) for example, the radio station, a munitions factory. At three locations in the city - the triangle that they abzirkelten (encircled), took in Vienna's historic center - in the years 1943/44 had established an own self-contained world, with it corresponded an outside, the world of total war. The flak towers gave this world the architectural icon.
On 14 February 1943, the British Air Force had carpet bombings on German cities announced after it adversary those commitments to civility, just in war of some validity, namely to protect non- military targets, long ago had abandoned. It was a strategy that should give World War II a decisive turn. The Germans had their production concentrated on weapons with immediate penetrating power, especially on fighter planes and tanks. The Allies, however, swore on sustainability, on long-range bombers that now more and more were used. Against such so-called "flying fortresses" should prepare the city's flak towers.
On 18 February 1943 already, the Nazi regime had reacted propagandistically. Joseph Goebbels delivered in the Sportpalast (Sports Palace) those infamous speech in which an unleashed crowd at the top of its voice loud the hysterical question "Do you want total war?" applauded. From then on, the action would no longer overridingly occur on the fronts. Now, as Goebbels put it, the "phalanx of the homeland" was at stake. The war would be carried to the cities. In their midst, in the urban milieu that would now lose all nonchalance and any worth of life. Also, and just that is what the flak towers stand for: their comfort is the security wing, their promise the ammunition depot. They guarantee offensive and defensive in one. In this hard as reinforced concrete alignment, imagined the regime each of every Volksgenossen (member of the German nation).
The flak towers are the architecture of total war par excellence: monumental exclamation marks for military preparedness, towering icons of the resistiveness, uniform archetypes of a technical, an instrumental progress, to which the Nazi state with due atavism was always committed. Furthermore, comes to some extent the domestic political effect: The flak towers are citadels against the own population, reduits in the face of a psychological and social situation, which solely by forced violence, by martial law and concentration camps could be overmastered.
The prototype of the flak towers built up in Berlin, as well as their principle was conceived in the capital, especially by Albert Speer, the Minister for the war economy. But as a kind of urban identification mark they stand in Vienna, and also for this the logic of total war can be used. It is the logic of destruction, the so-called "Nero-command", which after Hitler's disposal would have provided the destruction of all remaining infrastructure in the German Reich. It is the logic of a perverted Darwinism, which would have applied the dictum of unworthy life in the moment of defeat on the own population.
In one of his table talks in May 1942, Hitler blustered about the "huge task to break ... the supremacy of Vienna in the cultural field ...". The hatred toward the city of his youth was notorious, and one may assume that the flak towers, whose placement the "Führer" personally ordered, the enemy, in a manner of speaking, definitely should stake out a target area. Because naturally, the towers would increasingly attract attacks on themselves. But they have the war unscathed as hardly another building survived. That they are standing for the long shot, the totalitarism this very day is clear. To eliminate them, would mean to turn the city with them in rubble.
Chicago, IL
9/20/2012
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
This is hardly the first image I've posted of the new Oslo Opera House, but this was actually the first time I've set foot on the building!
Finally! :-)
With architecture like this, its very tempting to focus on lines, geometry, reflections in the large window panes.
Added interest: A man walking away from the main entrance, D-SLR camera in hand - reflected in the windows. New buildings in the background, with a crane signalling the continuing development of this area of Oslo harbour.
This one begged for an arty black & white treatment, so it got one. I'm content with the end result.
The Norwegian opera house was selected as the "World Building of the Year" in the category "Culture" during the "World Architecture Festival" in Barcelona around the same time as this photo was taken.
File replaced with a better processed version, March 14th 2010.
All rights reserved, no use of my images without my consent. Contact info on my Profile page.
See also: photos.trondjs.com
For this week's 100x Street Photography theme, a dusty street.
Captured at the Farmer's Museum in Cooperstown NY.
I loved this place when I was a kid and I guess my daug. did as well because we made a stop with the grandkids on the way to Old Forge.
Most people know Cooperstown because of the Baseball Hall of Fame. But, there is a good deal of other things to see and do in and around the beautiful little city.
James Fenimore Cooper's home is open to the public and presents various works of art though out the year. They were hosting an Ansel Adams show while we were there.
The Farmers Museum has been saving bits and pieces of NY history for many years.
Saving old buildings and moving them to the museum grounds. It offers a great snapshot of American life in the early and mid 1800s and brings it all to life with humans working at blacksmithing, farming, school teaching, rope making etc.
Then theres the lake and all it has to offer, the American Revolution has many historic sites in the area, there's nature hiking, antiquing and good local beers for thirsty travelers.
Be sure to save some time for a good look around the area if you stop for a visit at the Hall of Fame.
Spotted this guy Kenny Powers-ing it alone on the lake at North Ave.
October 17th, 2013
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
The Oslo Opera House on a grim Saturday. The previous day about 10 cm of snow had fallen. Some traces may still be seen.
The Oslo Opera House (in Norwegian, Operahuset) is the seat of The Norwegian National Opera and Ballet, and the national opera theatre in Norway. The building lies in Bjørvika, in the center of Oslo, at the head of the Oslofjord. Its builder was Statsbygg, a government-run property owner. The architects were the Norwegian firm Snøhetta who were also the architects of the Bibliotheca Alexandrina (the Library of Alexandria) in Egypt. The theatre designers were Theatre Projects Consultants based in London, the acoustic designers were BrekkeStrandArup, a joint venture between local consultant Brekke Strand Akustikk and international acousticians Arup Acoustics. Norwegian construction company Veidekke was awarded one of the largest building contracts of the project. The structure provides a total area of 38,500 m² and includes 1,100 rooms, one of which has 1,350 seats and another has up to 400 seats. Total expenditures for the building project were planned at 4.4 billion NOK, but finished ahead of schedule, and 300 million NOK under budget.
The Opera House was finished in 2007 with the opening event held on 12 April 2008. King Harald V of Norway opened the Opera House that evening at a gala performance attended by national leaders and royalty, including President Tarja Halonen of Finland, Chancellor Angela Merkel of Germany and Queen Margrethe II of Denmark. The main stage is 16 meters wide, and can be made up to 40 meters deep.
The Opera won the culture award at the World Architecture Festival in Barcelona in October 2008. Jury member Sir Peter Cook said of the Opera House that it "...in its scale, ambition and quality has raised the bar for Norwegian architecture."
More information on the building from Snøhetta architects.
HDR from three handheld exposures. Processed and tonemapped using Photomatix.
Made it #354 on explore (see history).
Chicago Cubs vs. St. Louis Cardinals
Chicago, IL
May 3rd, 2014
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Mosque architecture in Kurdistan has two primar influences: Iranian and Ottoman. Ottoman architecture is the architecture of the Ottoman Empire which emerged in Bursa and Edirne in 14th and 15th centuries. The architecture of the empire developed from the earlier Seljuk architecture and was heavily influenced by the Iranian, and to a larger extent, Byzantine architecture as well as Islamic Mamluk traditions after the conquest of Constantinople by the Ottomans. For almost 500 years Byzantine architectural artifacts such as the church of Hagia Sophia served as models for many of the Ottoman mosques. Overall, Ottoman architecture has been described as a synthesis of the architectural traditions of the Mediterranean and the Middle East.
The Ottomans achieved the highest level architecture in their lands hence or since. They mastered the technique of building vast inner spaces confined by seemingly weightless yet massive domes, and achieving perfect harmony between inner and outer spaces, as well as articulated light and shadow. Islamic religious architecture which until then consisted of simple buildings with extensive decorations, was transformed by the Ottomans through a dynamic architectural vocabulary of vaults, domes, semi domes and columns. The mosque was transformed from being a cramped and dark chamber with arabesque-covered walls into a sanctuary of aesthetic and technical balance, refined elegance and a hint of heavenly transcendence.
In their homeland in Central Asia, Turks lived in dome-like tents appropriate to their natural surroundings. These tents later influenced Turkish architecture and ornamental arts. When the Seljuks first arrived in Iran, they encountered an architecture based on old traditions. Integrating this with elements from their own traditions, the Seljuks produced new types of structures, most notably the "medrese" (moslem theological schools). The first medreses - known as Nizamiyah - were constructed in the 11th century by the famous minister Nizam al-Mulk, during the time of Alp Arslan and Malik Shah I. The most important ones are the three government medreses in Nishapur, Tus and Baghdad and the Hargerd Medrese in Khorasan. Another area in which the Seljuks contributed to architecture is that of tomb monument. These can be divided into two types: vaults and large dome-like mausoleums.
The Ribat-e Sharif and the Ribat-e Anushirvan are examples of surviving 12th century Seljuq caravanserais, which offered shelter for travellers. Seljuq buildings generally incorporate brick, while the inner and outer walls are decorated in a material made by mixing marble, powder, lime and plaster. In typical buildings of the Anatolian Seljuq period, the major construction material was wood, laid horizontally except along windows and doors where columns were considered more decorative.
The domed architectural style evolved from Bursa and Edirne. The Holy Mosque in Bursa was the first Seljuk mosque to be converted into a domed one. Edirne was the last Ottoman capital before Istanbul, and it is here that we witness the final stages in the architectural development that culminated in the construction of the great mosques of Istanbul. The buildings constructed in Istanbul during the period between the capture of the city and the construction of the Istanbul Bayezid II Mosque are also considered works of the early period. Among these are the Fatih Mosque (1470), Mahmutpasa Mosque, the tiled palace and Topkapi Palace. The Ottomans integrated mosques into the community and added soup kitchens, theological schools, hospitals, Turkish baths and tombs.
During the classical period mosque plans changed to include inner and outer courtyards. The inner courtyard and the mosque were inseparable. The master architect of the classical period, Mimar Sinan, was born in 1492 in Kayseri and died in Istanbul in the year 1588. Sinan started a new era in world architecture, creating 334 buildings in various cities. Mimar Sinan's first important work was the Sehzade Mosque completed in 1548. His second significant work was the Süleymaniye Mosque and the surrounding complex, built for Suleiman the Magnificent. The Selimiye Mosque in Edirne was built during the years 1568-74, when Sinan was in his prime as an architect. The Rüstempasa, Mihriman Sultan, Ibrahimpasa Mosques and the Sehzade, Kanuni Sultan Süleyman, Roxelana and Selim II mausoleums are among Sinan's most renowned works. Most classical period design used the Byzantine architecture of the neighboring Balkans as its base, and from there, ethnic elements were added creating a different architectural style.
Examples of Ottoman architecture of the classical period, aside from Turkey, can also be seen in the Balkans, Hungary, Egypt, Tunisia and Algiers, where mosques, bridges, fountains and schools were built.
In 1908, Mulla Effendi renovated the Great Mosque of Hewlêr (Erbil) Kurdistan. Abu Bakr Mulla Effendi was born to Haji Omer Effendi (1814-1891). He was named Abu Bakr after his grandfather Abu Bakr III Effendi (1778-1855) who was known as Küçük Mulla that means Little Mulla because he received his scientific license in a record period.
His family traced back to a known family that emigrated Iran during the 16th century at the time of Shah Ismail I Safawi of Iran along with other families, and were settled in Erbil. The reason of the emigration was of differences between the chief leader of the family and the Shah then.
His father, Haji Omer Effendi, was the speaker of the Great Mosque (also known as White Mosque or Citadel Mosque) at the Citadel of Erbil. Abu Bakr Mulla Effendi received his education at the Great Mosque and soon began lecturing and writing when he was young for his passion for study and learning. He was only thirty years when he took his father's place after his death in 1891.
Mulla Effendi taught Islamic philosophy, Islamic history, science, mathematics, astronomy and ethics. He was the only source of Fatwa in Erbil and for nearby tribes and villages. He granted more than 100 scientific licenses for scholars from different parts of Iraq, Iran, and the Middle East in general.
Cabinet card, 1902
Format: oblong promenade
See details in the first comment.
"Ezüst lakodalom emlékére, 1902. nov. 8-án"
Photographer: Mai és Társa (Mai Manó & Co.)
Budapest
Nagymező utca 20.
saját házában, az Andrássy út közelében
(in his own house, next to Andrássy Avenue)
Hungary
No. 23 810
www.flickr.com/photos/37578663@N02/sets/72157645682699802
-------------------------
Mai Manóról: hu.wikipedia.org/wiki/Mai_Man%C3%B3.
About Mai Manó: www.maimano.hu/maimanohaz_en.html
Mai Manó (1855-1917) was a professional photographer and specialist, in his time he was one of the best specialists of child portraits. His status in the professional community of that time is uncontested. He was also the founder and editor of the periodical called "A Fény" (The Light, launched in 1906).
Mai Manó House - The Hungarian House of Photographers operates in this house. His eight-story studio-house and home was built in fourteen months in 1893-94.
The special, eight-story neo-renaissance monument is unique in world architecture: we have no knowledge of any other intact turn-of-the-century studiohouse. In addition, it serves its original goal, the case of photography again.
Virtual Reality implemented in the scale model in front of these ladies, by wearing that pair of goggles, they were able to interact both with the model, and the surrounding space, mapped to satisfy and entertain their curiosity. Pleasant surprise from a pavilion that, besides that, has much to envy to other national exhibitions.
Chicago, IL
October 16th, 2015
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right
June 4th, 2014
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.
Chicago, IL
11/28/2012
All photos © Joshua Mellin per the guidelines listed under "Owner settings" to the right.