Architecture of London

The architecture of London is presented almost by all architectural styles: from the baroque and art-deco to a postmodernism and hi-tech. Many medieval buildings have not saved because of the Great fire of 1666 which has destroyed more than 13,000 London buildings, and air-bombardments during the Second World War.

The Norman architecture to England was brought by William the Conqueror. From constructions of Norman style is known the London Tower which has started to be constructed by William the Conqueror and was repeatedly completed by other British Kings. Besides in the same style is executed the Westminster Hall constructed in 1097. At that point in time it was the biggest hall in Europe.

Norman Architectural Style for London

One of the brightest samples of this architectural style is the Westminster Abbey. Other samples of this period in London have not remained. The XIX-century is the time of the variety of architectural styles. In the neo-Gothic Style is constructed the well-known building of Parliament with Big Ben Tower. This building has been constructed after a fire on October, 16th, 1834 on a place of the old Westminster palace.

London City Hall by Fosters + Partners

In the XX-century in a London City there were skyscrapers: the Shard by Renzo Piano, the Lloyd’s of London, a mega-complex the Canary Wharf (Docklands). Norman Foster became the leading British architect, he constructed skyscraper SwissRe or 30 St Mary Axe and the New City Hall (the mayor house).

Rope-way, Thames, London

In London constantly are under construction the most modern infrastructural objects of type of new Wembley Stadium or the Big London Eye, but there never was a rope-way. However this city lack will be fast eliminated. The Mace Group has declared the intention to construct the 1st cable car in London.
Today, the capital of Great Britain actively prepares for 2012 Summer Olympic Games. All forces and all city resources are thrown on creating an infrastructure necessary for this grand action. And, if artificial clouds, most likely, are not constructed — the rope-way will appear in this city by next summer.

Legendary Mace Group Projects

Mace Group company is known in London thanks to infrastructural projects of a new formation. It has erected already mentioned big wheel the London Eye, the London City-Hall (residence of Administration of the Greater London), skyscraper «Shard London Bridge» and many other architectural objects. Thus, in a year, in the track record of Mace Group will also the first rope-way in London.

One station of this new kind of the London transport will be on the Greenwich Peninsula near huge entertainment complex «O2». The second — on other party of Thames, around the central input in the British Museum. The length of this cable car: about 1 km. There are suspicions that a cable car will use, first of all, not as public transport, and as tourist way.

The new temporary exhibition “A dream among splendid ruins... Strolling through the Athens of travelers, 17th-19th century” was designed to provide an imaginary stroll through monumental Athens between the 17th and 19th centuries. Our companions on this stroll are the European travelers who undertook the “Grand Tour” to the capital city of Hellenism and who, inspired by the movement of Classicism, recorded the “splendid ruins” of its historical past.

Twenty-two illustrated travel publications and twenty-four original works of art — oil paintings, watercolors, and engravings from the Library collections of the Hellenic Parliament — offer landscapes, images, monuments, and specific moments from the Athens of travelers, feeding our imagination and setting starting-points for our own, personal readings. Thirty-five marble sculptures from the National Archaeological Museum, many of them presented here for the first time, converse with the travelers’ works, complementing their charming narrative of the city’s monumental topography. The museum experience is supplemented by music from the travelers’ homelands as well as by Greek music such as that recorded by the French composer and music theorist L.A. Bourgault-Ducoudray during his visit to Athens in 1874-1875.

The cultural environment in which European traveling flourished was directly linked to the intensification of the study of classical antiquity and systematization of archaeological research. Integrated into the same context is the formation of the first private archaeological collections and archaeological museums in Europe, as well as the dark side of traveling — the “mania” for antiquities and their plundering —, both of which increased the awareness of the newly-formed Greek state and led to the establishment of a national policy for the protection of antiquities and creation of archaeological museums.

The exhibition was organised with the cooperation of the Hellenic Parliament Library. Into the total of 76 exhibits are included works of sculpture and archive records from the National Archaeological Museum, along with etchings, paintings and illustrated editions from the Collection of Artworks and the Library of the Hellenic Parliament. Works of art on loan from the Museum of the City of Athens and the General State Archives of Greece also feature among the exhibits.

The exhibition is enriched with digital applications that enhance visitors’ sense of direction around the monumental landscape of the city, enable them to leaf through pictures of illustrated books on display, offer them the opportunity to glimpse into the everyday life of the city, as this comes alive with the aid of technology, and to reflect back, by way of images, photos and selected extracts from travelers’ texts as well as those of institutional representatives of the new Greek state, on the relationship people who lived then in Athens, permanently or temporarily, had with antiquities. The exhibition is accompanied by a scholarly catalogue in Greek and in English published by the Archaeological Receipts Fund.

Finally, this temporary exhibition can be seen as the precursor of an important approaching anniversary. In 2016, the National Archaeological Museum will celebrate 150 years since its foundation. The new exhibition of the National Archaeological Museum brings out the incipient cultural environment to which the Museum owes its foundation, while the long chronicle of the museum’s founding, character, history, and activities, so closely bound with the modern history of Greece, will be unravelled in a series of upcoming events.

The first one is now presented in a separate hall adjacent to the exhibition of the Travelers. It is a special visual installation the artistic curation of which was undertaken by Andonis Theocharis Kioukas. Enriched with music and film projections, the installation makes use of old showcases from the first years of the Museum’s operation, subtly making an effort to elucidate the secret thread that connects all those that the National Archaeological Museum carries in its entrails and transports through time functioning as an ark of concepts and universal values.

The exhibition will run until 8th October, 2016.

Source: National Archaeological Museum [September 12, 2015]

With scientists forecasting sea levels to rise by anywhere from several inches to several feet by 2100, historic structures and coastal heritage sites around the world are under threat. Some sites and artifacts could become submerged.

Scientists, historic preservationists, architects and public officials are meeting this week in Newport, Rhode Island—one of the threatened areas—to discuss the problem, how to adapt to rising seas and preserve historic structures.

"Any coastal town that has significant historic properties is going to be facing the challenge of protecting those properties from increased water and storm activity," said Margot Nishimura, of the Newport Restoration Foundation, the nonprofit group hosting the conference.

Federal authorities have encouraged people to elevate structures in low-lying areas, but that poses challenges in dense neighborhoods of centuries-old homes built around central brick chimneys, Nishimura said, especially ones where preservationists are trying to keep the character intact.

Many of the most threatened sites in North America lie along the East Coast between Cape Hatteras, North Carolina, and southern Maine, where the rate of sea level rise is among the fastest in the world, said Adam Markham, of the Union of Concerned Scientists, a speaker at the conference.

"We're actually not going to be able to save everything," he said.

A look at some of the historic areas and cultural sites that are under threat from rising sea levels:

Statue of Liberty and Ellis Island

Situated in New York Harbor, the Statue of Liberty and Ellis Island are some of New York's most important tourist attractions.

In 2012, Superstorm Sandy submerged most of the low-elevation Liberty and Ellis islands. After the storm, the Statue of Liberty, a gift from the people of France in 1886, was closed for eight months. Ellis Island, the entry point for about 12 million immigrants to the United States from 1892 to 1954, remained closed for nearly a year.

A report by the National Park Service looked at how several parks would be threatened by 1 meter, or around 3 feet, of sea level rise. It found $1.51 billion worth of assets at the Statue of Liberty National Monument were highly exposed to sea level rise.

Much of historic Boston is along the water and is at risk due to sea level rise, including Faneuil Hall, the market building known as the "Cradle of Liberty," and parts of the Freedom Trail, a walking trail that links historic sites around the city.

Boston has seen a growing number of flooding events in recent years, up from two annually in the 1970s to an average of 11 annually between 2009 and 2013, according to a 2014 report by the Union of Concerned Scientists. If sea levels rise by 5 inches, the group reported, the number of floods is projected to grow to 31 annually. If seas rise by 11 inches, the number of flooding events is projected to rise to 72 per year.

Newport

The Point neighborhood in the Rhode Island resort town has one of the highest concentrations of Colonial houses in the United States, and it sits 4 feet above mean sea level. Tidal flooding is already occurring in the neighborhood, and that is expected to increase as sea levels rise, Nishimura said. The smell of sea water already permeates the basement of some homes.

Annapolis

Maryland's capital, on Chesapeake Bay, boasts the nation's largest concentration of 18th-century brick buildings. The city briefly served as the nation's capital in the post-Revolutionary War period, and the Treaty of Paris, which formally ended the war, was ratified there. The city is also home to the U.S. Naval Academy.

The city already sees tidal flooding dozens of times a year, and scientists have predicted number could rise to hundreds annually in the next 30 years.

Jamestown

Established in 1607, it is the first permanent English colony in North America. It sits along the tidal James River in Virginia, and most of the settlement is less than 3 feet above sea level. A large part of the settlement has already eroded because of wave action, Markham said. Storms have also damaged the site, including Hurricane Isabel in 2003, which flooded nearly 1 million artifacts. A rising water table at the site also poses a threat to archaeological remains, Markham said.

He called the loss of archaeological artifacts "an urgent problem" along the U.S. coastline.

Hawaii

Reports by the National Park Service and others have found that rising sea level rises threaten archaeological sites at various historic places in Hawaii. Those include ancient fish ponds at Pu'ukohola Heiau National Historic Site and a "Great Wall" at a sacred site in Pu'uhonua o Honaunau National Historical Park. It is considered the best-preserved such wall in Hawaii.

International Sites

Dozens of UNESCO World Heritage Sites are under threat from sea level rise, according to a 2014 report by climate scientists Ben Marzeion, of the University of Innsbruck in Austria, and Anders Levermann, of the Potsdam Institute in Germany.

Among those are: the Tower of London; Robben Island in South Africa, where Nelson Mandela was imprisoned for 27 years; Venice, Italy, and its lagoon; Mont-Saint-Michel, home to an abbey built atop a rocky islet in France; the Kasbah of Algiers, Algeria; the historic district of Old Quebec, Canada; Old Havana in Cuba; and archaeological areas of Pompeii, Italy, and Carthage in Tunisia.

The authors wrote that their findings indicate that "fundamental decisions with regard to mankind's cultural heritage are required."

Author: Michelle R. Smith | Source: The Associated Press [April 11, 2016]

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The reunification of ancient Egypt achieved by Nebhepetre Mentuhotep II—the first pharaoh of the Middle Kingdom—was followed by a great cultural flowering that lasted nearly 400 years. During the Middle Kingdom (mid-Dynasty 11–Dynasty 13, around 2030–1650 B.C.), artistic, cultural, religious, and political traditions first conceived and instituted during the Old Kingdom were revived and reimagined.

This transformational era will be represented through 230 powerful and compelling masterworks (individual objects and groups of objects) in the major international exhibition Ancient Egypt Transformed: The Middle Kingdom, opening October 12 at New York’s Metropolitan Museum of Art. Fashioned with great subtlety and sensitivity, and ranging in size from monumental stone sculptures to delicate examples of jewelry, the works of art are drawn from the preeminent collection of the Metropolitan—which is particularly rich in Middle Kingdom material—and 37 museums and collections in North America and Europe. This is the first comprehensive presentation of Middle Kingdom art and culture and features many objects that have never been shown in the United States.

“The astonishing continuity of ancient Egyptian culture, with certain basic principles lasting for thousands of years, gives the impression of changelessness,” said Adela Oppenheim, Curator of Egyptian Art. “But the works of art in the exhibition will show that ancient Egypt constantly evolved, and was remarkably flexible within a consistent framework. New ideas did not simply replace earlier notions; they were added to what had come before, creating a fascinating society of ever-increasing complexity.”

Arranged thematically and chronologically, the exhibition opens with a forceful, monumental statue of King Mentuhotep II, carved in an intentionally archaic style that suggests a link to the legendary kings of early Egypt (ca. 3300 B.C.).

Profound changes in the concept of kingship are demonstrated through a series of royal statues that span several hundred years. Early Middle Kingdom pharaohs are often depicted with youthful faces and confident expressions. In contrast, the evocative, fleshy faces and deep-set, hooded eyes of later kings present startling images of maturity and humanity.

During the 12th Dynasty, the construction of pyramid complexes resumes, after a lapse of more than a century. The innovation found in these complexes is exemplified by that of Senwosret III (around 1878-1840 B.C.) at Dahshur, site of Metropolitan Museum excavations since 1990. A detailed 1-to-150 scale model made by Ron Street, Supervisor of the Museum’s Three-Dimensional Imaging, Prototyping, and Molding Studio, will show the original form of the complex.

Royal women were always closely connected to the pharaoh, as evidenced by the placement of their burials and chapels near those of the king. Although less is known about Middle Kingdom queens and princesses, indicating altered or perhaps diminished roles during the era, some of the finest ancient Egyptian jewelry was produced for elite women of the time. Inscriptions and symbolic motifs endowed the jewelry with spiritual power and related to the role these women played in supporting the kings as guarantors of divine order on earth.

During the Middle Kingdom, members of all levels of Egyptian society commissioned a wider variety of works of art and constructed commemorative chapels at significant holy sites; statues of squatting figures rendered in a cubic, block-like form and statues in an attitude of prayer originate during this period.

Thematic groupings of artifacts from domestic settings, tombs, and temples reveal the breadth of artistic expression, evolution of styles, and the transformation of many aspects of Egyptian culture and religion. First attested in the Middle Kingdom are a variety of intriguing, protective magical objects, notably some that were believed to shield pregnant women and young children. Among them are curved hippopotamus tusks that are unique to this era and are covered with images of beneficial supernatural beings.

The family was always a central element of ancient Egyptian culture, but in the Middle Kingdom larger groups of relatives are depicted together on stelae and sculptures. One remarkable stela on view features depictions of 30 individuals. Others include poignant groupings of mothers and their young children.

Significant changes in afterlife beliefs during the Middle Kingdom are manifest in new kinds of objects present in burials. Intricately and finely rendered miniatures of painted wood (so-called models) from the tomb of the chancellor Meketre (ca. 1980–75 B.C.), excavated by the Metropolitan in 1920, depict food production, manufacturing, and journeys by boat; they are displayed in several sections of the exhibition.

During the Middle Kingdom, the god Osiris gained importance as a funerary deity and, from then on, the dead at all levels of society became manifestations of the god. Because Osiris functioned as the ruler of the underworld, certain symbols and regalia that had been the sole prerogative of the reigning king were appropriated for non-royal use: mummies sometimes had a uraeus on the brow (a stylized cobra usually seen on a pharaoh’s crown), and a flail (a standard attribute of the pharaoh) could be placed inside a coffin. Canopic jars, which held the organs of the deceased, became much more ornate in the Middle Kingdom. With lids in the form of human heads, the vessels are small sculptures in their own right.

As devotion to Osiris increased, his cult center at Abydos (north of Luxor) gained prominence. Annual processions were held between his temple and his supposed burial place in the desert to the west. To participate eternally in these elaborate rites and ensure their afterlife, individuals at many levels of society erected memorial chapels—some with outstanding artworks—for themselves and their families along the procession route.

Deity temples—largely built of fragile mud brick in the Old Kingdom—were transformed dramatically during the Middle Kingdom, when pharaohs commissioned decorated stone temples throughout the country. Decoration included spectacular sculpture and reliefs depicting the pharaoh presenting offerings to and revering deities, as well as statues of the gods.

Colossal statues were first made during the Old Kingdom, but they became much more common during the Middle Kingdom. Portions of colossal statues will be displayed throughout the exhibition, with the largest in scale being presented at its conclusion: a monumental head of pharaoh Amenemhat III that was transported to the Delta city of Bubastis and reused by later kings. The same happened to the colossal statue of a mid-Dynasty 12 king, on loan from the Ägyptisches Museum und Papyrussammlung, Berlin, and on view in the Museum’s Great Hall. Pharaohs after the Middle Kingdom reused the monuments of their predecessors, particularly those of the Middle Kingdom, both for economy and to link themselves to the past.

General knowledge of the history of the Middle Kingdom—the achievements of its artists, its religious beliefs, burial customs, and relationships with other lands—stems in large part from Metropolitan Museum sponsorship of numerous excavations at Middle Kingdom sites including Deir el-Bahri (1920–31), Lisht (1906–34, 1984–91), and Dahshur (1990–present).

Source: The Metropolitan Museum of Art [September 26, 2015]

Bridge in London

The center of London is actively condensed. Therefore there it's simply impossible to squeeze any new construction. But the requirement for them constantly appears. For example, the project of architect James Gardener on bridge building through Thames, the bridge will become simultaneously and as new parkway in the center of London, and also will create set of the new areas in the same place.
High Tide Street, the new bridge through Thames, will created from several floating platforms. In these platforms also there will be infrastructural city elements: library, a concert hall, floor spaces.
Here it will be possible to go in for sports, and simply to have a rest on a bench. Here after all there will be no car nearby. Therefore air here will be pure!

The bridge over Thames

Besides, into this architectural project will be possible to add a new element and even the whole branches.