Biet Ghiorgis (Church of Saint George in Amharic) is one of the eleven monolithic churches that compose the whole settlement of Lalibela. It is believed that they were sent built by the King of Lalibela during the XII century because he was aiming to recreate a ‘New Jerusalem’. Biet Ghiorgis is inscribed in a 20 […]
Some readers versed in medieval History or sacred architecture will know the name Cluny immediately. A monastery famous for the abbot St. Hugh, for the diffusion of Benedictine monasticism in France, and for two particularly great reformer-Popes (St. Gregory VII and Urban II), Cluny was perhaps the most iconic religious center of Europe in the Middle Ages. A community of remarkable wealth, the monks had different colored habits for the corresponding color of the day or liturgical season. Cluny did not possess a reputation for taking penance very seriously. At its height the abbey boasted hundreds of monks and a separate segment of the complex for the housing and education of novices. The order's spreading of monasticism eventually led to its own undoing, as more people joined Cluniac priories or new orders that arose during the high Middle Ages, such as the Cistercians. The Great Western Schism further weakened the monastery and the French Revolution ended up as the straw that broke the camel's back—the archives were incinerated and the abbey church became a rock quarry. The abbey church of Cluny, in its third incarnation, was large enough to give St. Peter's and St. Paul Outside the Wall in Rome a serious run for the title "largest church in the world." The church has dozens of substantially sized chapels for private Masses, which pilgrims probably attended when passing through the abbey. In the morning and evening one or two hundred monks would line each side of the choir for Mattins, Lauds, Vespers, and Compline, and the conventual Mass(es). Today only one transept of the abbey church, the third built on that spot, survives. Although Romanesque, it looks a little bit Armenian, with the octagonal sides and vertically accentuated windows. The inside of the remnant From americansinfrance.net A model collating the remnant with a skeleton of the actual abbey church A layout of the monastery proper. Note the narrow entrance to the abbey church, which widens in the narthex, and more so in the nave. Windows would have progressively increased in size, illuminating the church as one approached the sanctuary, which would be washed in bright light, a physical reminder of the spiritual journey to God. The placing of the baptismal font in the rear of most churches reflects the same idea. A drawing of the sanctuary and transepts. The rood screen, which has no rood in this image, separates the sanctuary from the nave. Note the communion rail. I do not know which era the artist intended to capture in this image, but the railing seems improper, unless I am missing something. from: learn.columbia.edu A cross section of the same area from: soffits.wordpress.com One artist's idea of what walking through the abbey might have been like. Unfortunately the artist has neglected the colorful décor of the Middle Ages. Statues, or even walls, would have been painted in numerous beautiful colors, depicting Christ, angels, saints, and events in an overwhelming visual blaze. from: http://flashinformatique.epfl.ch/spip.php?article1360 The exterior of the church from: ioansoran.wordpress.com A large-scale depiction of the entire Cluniac complex from: brynmawr.edu A cutaway of the church, exposing the bases of the columns, whereby the arches would force the pillars to support one another The apse of the abbey's retreat chapel, likely a replica of the apse of the conventual church from: wga.hu A 3D reconstruction of the church We are in dire need of a greater emphasis on the vertical and on color and luminosity in Christian architecture today. Let us drop the psuedo-simplistic, bare-walls style of modern day, and also that "sweet" look so popular in a lot of 19th and early 20th century churches, and go for that which makes man look up to God. Even in a small parish this is a very plausible endeavor. Was this that much cheaper to build.... ....than this? Come on.
Is het mogelijk om op commando buiten je lichaam te treden? Zeker weten. Hoewel het je wat tijd zal kosten om te oefenen en goed in te worden
These striking, large-scale photographs from Karen Knorr’s India Song series are high on my wish list (a girl can dream!). Snapped in India between 2008 and 2014, Knorr first shot the ornate architect
If you liked yesterday´s butterfly you surely will enjoy watching Casa Comalat, one of the most spectacular houses representing Catalan modernisme built from 1909 to 1911 by Salvador Valeri i Pupurull. Imagine yourself walking along Avinguda Diagonal near Passeig de Gràcia, you get to number 442, come across a breathtaking building with these elaborate balconies and impossible design windows, you take some good pictures and go around the block for something to drink, let´s say at carrer Còrsega right behind. You wouldn´t believe your eyes, the same Casa Comalat appears again with a completely different look: a polychrome rear façade with wooden modernist balconies and wonderful ceramic work. There you go thirsty again for another half hour! Check here the main façade or watch my video of Casa Comalat on instagram See Casa Comalat Picture on a Google Earth Map
Here's a Richard Lopez video with the basics if you are new to the subject Here is a starter for you if you have eyes opened wide enough to see what remains to be seen...everywhere. Max Igan on Richie Allen's Podcast CIA DOCUMENT "National Cultural Development Under Communism" ------------------- ADVANCED INFORMATION SKIP OVER IF YOU ARE NEW TO THE SUBJECTS Another CIA Document . -------------------- Philipp Druzhinin Mud Flood CONSPIRACY-R-US Martin Liedtke JonLevi / UAP - Fascinating insight into New YorkCity's "Flatiron Building." AGE OF DISCLOSURE more coming Light Sabres before Star Wars
Explore Guillaume Colin & Pauline Penot's 1991 photos on Flickr!
Il existe une seule religion dans l'Afrique authentique. Pourquoi est-elle appelée animisme? Quels sont ses fondements? Nous répondons.
Some readers versed in medieval History or sacred architecture will know the name Cluny immediately. A monastery famous for the abbot St. Hugh, for the diffusion of Benedictine monasticism in France, and for two particularly great reformer-Popes (St. Gregory VII and Urban II), Cluny was perhaps the most iconic religious center of Europe in the Middle Ages. A community of remarkable wealth, the monks had different colored habits for the corresponding color of the day or liturgical season. Cluny did not possess a reputation for taking penance very seriously. At its height the abbey boasted hundreds of monks and a separate segment of the complex for the housing and education of novices. The order's spreading of monasticism eventually led to its own undoing, as more people joined Cluniac priories or new orders that arose during the high Middle Ages, such as the Cistercians. The Great Western Schism further weakened the monastery and the French Revolution ended up as the straw that broke the camel's back—the archives were incinerated and the abbey church became a rock quarry. The abbey church of Cluny, in its third incarnation, was large enough to give St. Peter's and St. Paul Outside the Wall in Rome a serious run for the title "largest church in the world." The church has dozens of substantially sized chapels for private Masses, which pilgrims probably attended when passing through the abbey. In the morning and evening one or two hundred monks would line each side of the choir for Mattins, Lauds, Vespers, and Compline, and the conventual Mass(es). Today only one transept of the abbey church, the third built on that spot, survives. Although Romanesque, it looks a little bit Armenian, with the octagonal sides and vertically accentuated windows. The inside of the remnant From americansinfrance.net A model collating the remnant with a skeleton of the actual abbey church A layout of the monastery proper. Note the narrow entrance to the abbey church, which widens in the narthex, and more so in the nave. Windows would have progressively increased in size, illuminating the church as one approached the sanctuary, which would be washed in bright light, a physical reminder of the spiritual journey to God. The placing of the baptismal font in the rear of most churches reflects the same idea. A drawing of the sanctuary and transepts. The rood screen, which has no rood in this image, separates the sanctuary from the nave. Note the communion rail. I do not know which era the artist intended to capture in this image, but the railing seems improper, unless I am missing something. from: learn.columbia.edu A cross section of the same area from: soffits.wordpress.com One artist's idea of what walking through the abbey might have been like. Unfortunately the artist has neglected the colorful décor of the Middle Ages. Statues, or even walls, would have been painted in numerous beautiful colors, depicting Christ, angels, saints, and events in an overwhelming visual blaze. from: http://flashinformatique.epfl.ch/spip.php?article1360 The exterior of the church from: ioansoran.wordpress.com A large-scale depiction of the entire Cluniac complex from: brynmawr.edu A cutaway of the church, exposing the bases of the columns, whereby the arches would force the pillars to support one another The apse of the abbey's retreat chapel, likely a replica of the apse of the conventual church from: wga.hu A 3D reconstruction of the church We are in dire need of a greater emphasis on the vertical and on color and luminosity in Christian architecture today. Let us drop the psuedo-simplistic, bare-walls style of modern day, and also that "sweet" look so popular in a lot of 19th and early 20th century churches, and go for that which makes man look up to God. Even in a small parish this is a very plausible endeavor. Was this that much cheaper to build.... ....than this? Come on.
Boroujerdi House - Kashan - IRAN A Turkana home in the Northwestern part of Kenya. Mud House Design in Cameroon. Ndebele House...
There is incredible and underrated architecture across Africa, from important archaeological sites to vernacular structures to cathedrals and mosques.
Our clients will live amongst light and the warmth of wood, while presiding over the spectacular views towards Oxwich Point. The materia...
Some readers versed in medieval History or sacred architecture will know the name Cluny immediately. A monastery famous for the abbot St. Hugh, for the diffusion of Benedictine monasticism in France, and for two particularly great reformer-Popes (St. Gregory VII and Urban II), Cluny was perhaps the most iconic religious center of Europe in the Middle Ages. A community of remarkable wealth, the monks had different colored habits for the corresponding color of the day or liturgical season. Cluny did not possess a reputation for taking penance very seriously. At its height the abbey boasted hundreds of monks and a separate segment of the complex for the housing and education of novices. The order's spreading of monasticism eventually led to its own undoing, as more people joined Cluniac priories or new orders that arose during the high Middle Ages, such as the Cistercians. The Great Western Schism further weakened the monastery and the French Revolution ended up as the straw that broke the camel's back—the archives were incinerated and the abbey church became a rock quarry. The abbey church of Cluny, in its third incarnation, was large enough to give St. Peter's and St. Paul Outside the Wall in Rome a serious run for the title "largest church in the world." The church has dozens of substantially sized chapels for private Masses, which pilgrims probably attended when passing through the abbey. In the morning and evening one or two hundred monks would line each side of the choir for Mattins, Lauds, Vespers, and Compline, and the conventual Mass(es). Today only one transept of the abbey church, the third built on that spot, survives. Although Romanesque, it looks a little bit Armenian, with the octagonal sides and vertically accentuated windows. The inside of the remnant From americansinfrance.net A model collating the remnant with a skeleton of the actual abbey church A layout of the monastery proper. Note the narrow entrance to the abbey church, which widens in the narthex, and more so in the nave. Windows would have progressively increased in size, illuminating the church as one approached the sanctuary, which would be washed in bright light, a physical reminder of the spiritual journey to God. The placing of the baptismal font in the rear of most churches reflects the same idea. A drawing of the sanctuary and transepts. The rood screen, which has no rood in this image, separates the sanctuary from the nave. Note the communion rail. I do not know which era the artist intended to capture in this image, but the railing seems improper, unless I am missing something. from: learn.columbia.edu A cross section of the same area from: soffits.wordpress.com One artist's idea of what walking through the abbey might have been like. Unfortunately the artist has neglected the colorful décor of the Middle Ages. Statues, or even walls, would have been painted in numerous beautiful colors, depicting Christ, angels, saints, and events in an overwhelming visual blaze. from: http://flashinformatique.epfl.ch/spip.php?article1360 The exterior of the church from: ioansoran.wordpress.com A large-scale depiction of the entire Cluniac complex from: brynmawr.edu A cutaway of the church, exposing the bases of the columns, whereby the arches would force the pillars to support one another The apse of the abbey's retreat chapel, likely a replica of the apse of the conventual church from: wga.hu A 3D reconstruction of the church We are in dire need of a greater emphasis on the vertical and on color and luminosity in Christian architecture today. Let us drop the psuedo-simplistic, bare-walls style of modern day, and also that "sweet" look so popular in a lot of 19th and early 20th century churches, and go for that which makes man look up to God. Even in a small parish this is a very plausible endeavor. Was this that much cheaper to build.... ....than this? Come on.
Among our favorite books at the Land Library are those devoted to traditional architecture across the globe — so often simple and elegant structures built with the natural elements at hand. Y…
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Gobekli Tepe (trad: collina tondeggiante – ombelico) è un sito archeologico a circa 18 km a nordest dalla città di ?anl?urfa nell’odierna Turchia, presso il confine con la Siria, nel quale è stato rinvenuto il più antico esempio di tempio in pietra, risalente al 9600 a.C. e che sta sconvolgendo tutte le certezze sulle origini […]
Some readers versed in medieval History or sacred architecture will know the name Cluny immediately. A monastery famous for the abbot St. Hugh, for the diffusion of Benedictine monasticism in France, and for two particularly great reformer-Popes (St. Gregory VII and Urban II), Cluny was perhaps the most iconic religious center of Europe in the Middle Ages. A community of remarkable wealth, the monks had different colored habits for the corresponding color of the day or liturgical season. Cluny did not possess a reputation for taking penance very seriously. At its height the abbey boasted hundreds of monks and a separate segment of the complex for the housing and education of novices. The order's spreading of monasticism eventually led to its own undoing, as more people joined Cluniac priories or new orders that arose during the high Middle Ages, such as the Cistercians. The Great Western Schism further weakened the monastery and the French Revolution ended up as the straw that broke the camel's back—the archives were incinerated and the abbey church became a rock quarry. The abbey church of Cluny, in its third incarnation, was large enough to give St. Peter's and St. Paul Outside the Wall in Rome a serious run for the title "largest church in the world." The church has dozens of substantially sized chapels for private Masses, which pilgrims probably attended when passing through the abbey. In the morning and evening one or two hundred monks would line each side of the choir for Mattins, Lauds, Vespers, and Compline, and the conventual Mass(es). Today only one transept of the abbey church, the third built on that spot, survives. Although Romanesque, it looks a little bit Armenian, with the octagonal sides and vertically accentuated windows. The inside of the remnant From americansinfrance.net A model collating the remnant with a skeleton of the actual abbey church A layout of the monastery proper. Note the narrow entrance to the abbey church, which widens in the narthex, and more so in the nave. Windows would have progressively increased in size, illuminating the church as one approached the sanctuary, which would be washed in bright light, a physical reminder of the spiritual journey to God. The placing of the baptismal font in the rear of most churches reflects the same idea. A drawing of the sanctuary and transepts. The rood screen, which has no rood in this image, separates the sanctuary from the nave. Note the communion rail. I do not know which era the artist intended to capture in this image, but the railing seems improper, unless I am missing something. from: learn.columbia.edu A cross section of the same area from: soffits.wordpress.com One artist's idea of what walking through the abbey might have been like. Unfortunately the artist has neglected the colorful décor of the Middle Ages. Statues, or even walls, would have been painted in numerous beautiful colors, depicting Christ, angels, saints, and events in an overwhelming visual blaze. from: http://flashinformatique.epfl.ch/spip.php?article1360 The exterior of the church from: ioansoran.wordpress.com A large-scale depiction of the entire Cluniac complex from: brynmawr.edu A cutaway of the church, exposing the bases of the columns, whereby the arches would force the pillars to support one another The apse of the abbey's retreat chapel, likely a replica of the apse of the conventual church from: wga.hu A 3D reconstruction of the church We are in dire need of a greater emphasis on the vertical and on color and luminosity in Christian architecture today. Let us drop the psuedo-simplistic, bare-walls style of modern day, and also that "sweet" look so popular in a lot of 19th and early 20th century churches, and go for that which makes man look up to God. Even in a small parish this is a very plausible endeavor. Was this that much cheaper to build.... ....than this? Come on.
