Luxury Apartments in London

Really, there is in the world nothing original... To Take at least the project of apartment house the Whitehorse Street Apartments in London from «Studio Seilern Architects». It's the real new interpretation of the Hanging Gardens of Babylon!
It's good to have own garden? Yes! And architectural company «Studio Seilern Architects» suggests to London inhabitants to have own garden with vegetation!

Green London Apartment

In the most expensive apartments of this house there will be own terraces set with vegetation, luxury penthouse with open-air sunlight, and sign of paradise in the conservative London, standard apartments have balconies and panoramic windows.

Open-air Street Apartments

Besides, each apartment in «Whitehorse Street Apartments» will be connected to system of natural ventilation. And illumination in house premises will be made as more as possible natural — the big panoramic windows, a glass roof and open-air loggias.

The British Museum is to stage a major exhibition on two lost Egyptian cities and their recent rediscovery by archaeologists beneath the Mediterranean seabed. Opening in May 2016 for an extended run of six months, The BP exhibition Sunken cities: Egypt’s lost worlds will be the Museum’s first large-scale exhibition of underwater discoveries. It will show how the exploration of Thonis-Heracleion and Canopus – submerged at the mouth of the River Nile for over a thousand years – is transforming our understanding of the relationship between ancient Egypt and the Greek world and the great importance of these ancient cities.

300 outstanding objects will be brought together for the exhibition including more than 200 spectacular finds excavated off the coast of Egypt near Alexandria between 1996 and 2012. Important loans from Egyptian museums rarely seen before outside Egypt (and the first such loans since the Egyptian revolution) will be supplemented with objects from various sites across the Delta drawn from the British Museum’s collection; most notably from Naukratis – a sister harbour town to Thonis-Heracleion and the first Greek settlement in Egypt.

Likely founded during the 7th century BC, Thonis-Heracleion and Canopus were busy, cosmopolitan cities that once sat on adjacent islands at the edge of the fertile lands of the Egyptian Delta, intersected by canals. After Alexander the Great’s conquest of Egypt in 332BC, centuries of Greek (Ptolemaic) rule followed. The exhibition will reveal how cross-cultural exchange and religion flourished, particularly the worship of the Egyptian god of the afterlife, Osiris.

By the 8th century AD, the sea had reclaimed the cities and they lay hidden several metres beneath the seabed, their location and condition unclear. Although well-known from Egyptian decrees and Greek mythology and historians, past attempts to locate them were either fruitless or very partial. The exhibition will show how a pioneering European team led by Franck Goddio in collaboration with the Egyptian Ministry of Antiquities made use of the most up-to-date technologies to find them.

Thanks to the underwater setting, a vast number of objects of great archaeological significance have been astonishingly well preserved. Pristine monumental statues, fine metalware and gold jewellery will reveal how Greece and Egypt interacted in the late first millennium BC. These artefacts offer a new insight into the quality and unique character of the art of this period and show how the Greek kings and queens who ruled Egypt for 300 years adopted and adapted Egyptian beliefs and rituals to legitimise their reign.

The exhibition will feature a number of extraordinary, monumental sculptures. A 5.4m granite statue of Hapy, a divine personification of the Nile’s flood, will greet visitors as they enter the space. Masterpieces from Egyptian museums such as the Apis bull from the Serapeum in Alexandria will be shown alongside magnificent recent finds from the sea. One such piece is the stunning sculpture from Canopus representing Arsinoe II (the eldest daughter of Ptolemy I, founder of the Ptolemaic dynasty). The Graeco-Macedonian queen became a goddess beloved to both Egyptians and Greeks after her death and is depicted here as the perfect embodiment of Aphrodite, a goddess of beauty ‘who grants fortunate sailing’.

The exhibition will also cover the arrival of Greeks in Egypt, when they were hosts and not rulers; privileged but controlled by the pharaohs. A complete stela from Thonis-Heracleion advertises a 380BC royal decree of the Egyptian pharaoh Nectanebo I. It states that 10% of the taxes collected on all goods imported from the ‘Sea of the Greeks’ into Thonis-Heracleion and on all trade operations at Naukratis were to be donated to an Egyptian temple.

A wide range of objects, from modest to grand and costly, bears witness to the piety of both inhabitants and visitors at these major religious centres. Lead models of barges uncovered in the sacred waterway linking Thonis-Heracleion to Canopus are unique and moving finds. They are associated with the Mysteries of Osiris, the most popular festival celebrated annually across Egypt during the month of Khoiak (mid-October to mid-November). Ranging in size from 6 to 67cm, these reproduce in metal a flotilla of 34 papyrus barges that would have been displayed on a waterway to celebrate the first sacred navigation of the festival. According to religious texts, each barge was to measure 67.5 cm and to bear the figure of an Egyptian god, and would have been illuminated by 365 lamps. The lead barges are lasting testimonies possibly left by people who, long ago, celebrated this festival in the Canopic region.

Only a tiny proportion of these sites have revealed their secrets. The on-going underwater archaeological mission continues to bring to light new masterpieces and further research every year as the most recent finds from 2012 will show.

Sir Richard Lambert, Chairman of the British Museum, said, “It’s hugely exciting to be announcing the British Museum’s first large-scale exhibition of underwater discoveries and to be welcoming these important loans to London. We are grateful to BP for their ongoing support without which ambitious exhibitions such as these would simply not be possible. We’re also delighted to be working with Franck Goddio, his expert team at IEASM, the Hilti Foundation and of course our Egyptian colleagues to bring the extraordinary story of these lost cities to life.”

His Excellency Nasser Kamel, Ambassador of the Arab Republic of Egypt to the United Kingdom, said, "As well as looking for partners to invest in the Egyptian economy, Egypt is always searching for partners to help in exploring its heritage and treasures which are still hidden under its lands, and waters. This exhibition shows that despite what we know of its tremendous history and culture, Egypt still has a lot more to offer to?the world and we thank our partners in the UK, such as BP, for working with us in utilising our resources to develop our economy and through such an exhibition unraveling our history as well. I invite the people of Britain to visit this exhibition to get a glimpse of what Egypt has to offer, and come to Egypt to live that experience."

Bob Dudley, Group Chief Executive, BP, said, “BP is proud to support this fascinating exhibition which showcases the power of science and the pioneering spirit to discover what lies beneath the surface of the Nile Delta. By sharing these underwater treasures the British Museum is opening a whole new frontier for visitors to explore, and we are pleased to be a part of it.”

Franck Goddio, President of Institut Europeen d’Archeologie Sous-Marine (IEASM) and exhibition co-curator said “My team and I, as well as the Hilti Foundation, are delighted that the exhibition with discoveries from our underwater archaeological expeditions off the coast of Egypt will be on display at the British Museum. It enables us to share with the public the results of years of work at the sunken cities and our fascination for ancient worlds and civilisations. Placing our discoveries alongside selected masterpieces from the collections of Egyptian museums, complemented by important objects from the British Museum, the exhibition presents unique insights into a fascinating period in history during which Egyptians and Greeks encountered each other on the shores of the Mediterranean.”

Aurelia Masson-Berghoff, exhibition curator at the British Museum said “People sometimes assume that when two cultures mix, the essence of each is diluted and, as a result, weakened; this exhibition demonstrates the opposite. It is a rare opportunity to reveal the beauty and strength of Late Pharaonic art and culture, alongside the latest research on the momentous intermingling between Egyptian and Greek communities in Egypt at this time. We are illustrating this vibrant cosmopolitan world through Egyptian, Greek and ‘hybrid’ artworks, rarely ever displayed side by side. It shows ancient Egypt not as an isolated civilisation, but as the outward looking, influential and inclusive society that it was.”

Source: British Museum [February 14, 2016]

In Angkor Wat research, the focus has long been on temples and high society. A new project there is taking a different approach, laying the foundation for a new understanding of the iconic empire

A team excavating a dirt mound at Angkor Wat is hoping to shed light on one of the enduring blank spots in archaeologists’ understanding of the Angkorian empire: the lives of its common people.

It’s a fresh direction in the field of Angkorian archaeology, according to the leader of the dig, Alison Carter, 35, an Honorary Associate at the University of Sydney.

“We’ve spent a lot of time focusing on the temples and inscriptions and the elite members of the society, but there’s still so much that can be learned about the regular people who were contributing to the Angkorian empire. I hope that this project can spark some interest in those regular people,” she said this week.

Carter, an American who has been doing archaeology work in Cambodia for 10 years, said that her excavation was the first of its kind to focus directly on, what she believes to be, an Angkorian-era home.

The project, titled “Excavating Angkor: Household Archaeology at Angkor Wat” which began in early June and will continue through July, is funded primarily by the US-based National Geographic Society, as well as the Dumbarton Oaks institute. It is a part of the larger Greater Angkor Project, an umbrella research initiative managed by the University of Sydney and the APSARA Authority.

“This project is focused on excavating a house mound within the Angkor Wat enclosure. We’re trying to do a horizontal excavation. We’re not opening one huge trench but multiple trenches across this mound, and we’re doing that to try to understand where and how people are living,” Carter said.

“You could [call this] groundbreaking, not just because it is a good archaeological pun, but also because it does signal a shift in how people have been studying Angkor since the French began their research here.”

Carter and her international team are looking for artefacts of daily life – pots, utensils, food remains, gardens – hoping to piece together a picture of what life was like for the non-elite during and after the reign of the Angkor empire from circa 802AD to about 1463AD.

“Basically, anything that anyone does around the house and at home, we’re trying to find material evidence of that,” she added.

The idea for her project stemmed from a 2013 excavation within the Angkor Wat enclosure that found ceramics, cooking vessels, Chinese tradewares and other features that suggested human habitation. It was an important find, said Carter, but one that was largely overshadowed by the published results of another project: an extensive aerial laser surveying – known as lidar – of Angkor and its surrounding temples that was released around the time of the 2013 dig.

Along with evidence of daily activities, Carter and her team are also looking for signs of postholes in their mound.

“It’s a tricky process. It’s hard to study Angkorian houses because the houses themselves were above ground, so we’re using a variety of different strategies to try to pick up as much information as we possibly can,” she said.

Those strategies include methods that have not been used so far in the study of Angkor, such as soil analysis. Through several methods, including analysis of both macro and micro materials, team members can deduce a number of things from the dirt: where there might have been entryways, which areas were used for food preparation and areas where there may have been a garden.

Dougald O’Reilly, a senior lecturer in archaeology at the Australian National University, said that to date, most research of the Khmer empire had examined things mostly from a macro perspective.

“It is encouraging to see this type of work being undertaken to bring to light the subtle nuances of daily life at Angkor at the height of its power. It will bring a far more textured understanding of the past,” O’Reilly said.

Carter said that, due to a binding agreement with National Geographic, she was unable to disclose the specific details of what her team had discovered so far.

However, she did say that the team had discovered a lot of ceramics that seemed to be related to cooking.

“We’re finding evidence of how the mound was constructed and how people might have been living on it,” she said.

Team member Cristina Castillo, from University College London who is studying macrobotanical remains, said they hoped to continue the research in the residential areas to find out more about the local people’s diets and farming systems, which may have included horticultural activities adjacent to their residences.

“After all, rice was the staple, but they were eating a variety of crops, and fish and animals, as well,” she said.

Carter stressed that this excavation was just the beginning of what she hoped would be a renewed focus on the lives of regular Angkorians.

“Once we start getting a bigger data set of house mounds and households then we can really start seeing and saying a lot more about Angkorian society and what the daily lives of people were like,” she said.

“This is the power of archaeological research – to give a voice to these parts of the past.”

Author: Brent Crane | Source: The Phnom Penh Post [July 04, 2015]

Dazzling treasures combining gold and precious pigments - some of the finest illuminated manuscripts in the world - will go on display on Saturday 30 July in celebration of the Fitzwilliam Museum’s bicentenary.

The majority of the exhibits are from the Museum’s own rich collections, and those from the founding bequest of Viscount Fitzwilliam in 1816 can never leave the building and can only be seen at the Museum. For the first time, the secrets of master illuminators and the sketches hidden beneath the paintings will be revealed in a major exhibition presenting new art historical and scientific research.

Spanning the 8th to the 17th centuries, the 150 manuscripts and fragments in >COLOUR: The Art and Science of Illuminated Manuscripts guide us on a journey through time, stopping at leading artistic centres of medieval and Renaissance Europe. Exhibits highlight the incredible diversity of the Fitzwilliam’s collection: including local treasures, such as the Macclesfield Psalter made in East Anglia c.1330-1340, a leaf with a self-portrait made by the Oxford illuminator William de Brailes c.1230-1250, and a medieval encyclopaedia made in Paris c.1414 for the Duke of Savoy.

Four years of cutting-edge scientific analysis and discoveries made at the Fitzwilliam have traced the creative process from the illuminators’ original ideas through their choice of pigments and painting techniques to the completed masterpieces.

“Leading artists of the Middle Ages and early Renaissance did not think of art and science as opposing disciplines,” says curator, Dr Stella Panayotova, Keeper of Manuscripts and Printed Books. “Instead, drawing on diverse sources of knowledge, they conducted experiments with materials and techniques to create beautiful works that still fascinate us today.”

Merging art and science, COLOUR shares the research of MINIARE (Manuscript Illumination: Non-Invasive Analysis, Research and Expertise), an innovative project based at the Fitzwilliam. Collaborating with scholars from the University of Cambridge and international experts, the Museum’s curators, scientists and conservators have employed pioneering analytical techniques to identify the materials and methods used by illuminators.

“This has been an exciting project,” says research scientist, Dr Paola Ricciardi. “By combining imaging and spectroscopic analysis — methods more commonly associated with remote sensing and analytical chemistry — and by exploring such a diverse range of manuscripts, we can begin to understand how illuminators actually worked.”

“A popular misconception is that all manuscripts were made by monks and contained religious texts, but from the 11th century onwards professional scribes and artists were increasingly involved in a thriving book trade, producing both religious and secular texts. Scientific examination has revealed that illuminators sometimes made use of materials associated with other media, such as egg yolk, which was traditionally used as a binder by panel painters.”

Other discoveries include pigments rarely associated with manuscript illumination – such as the first ever example of smalt detected in a Venetian manuscript. Smalt, obtained by grinding blue glass, was found in a Venetian illumination book made c.1420. Evidently, the artist who painted it had close links with the famed glassmakers of Murano. This example predates by half a century the documented use of smalt in Venetian easel paintings.

Analyses of sketches lying beneath the paint surfaces, and of later additions and changes to paintings help to shed light on manuscripts and their owners. One French prayer book, made c.1430, was adapted over three generations to reflect the personal circumstances and dynastic anxieties of a succession of aristocratic women.

Adam and Eve were originally shown naked in an ABC commissioned c.1505 by the French Queen, Anne of Brittany (1476-1514) for her five-year-old daughter. However, a later owner, offended by the nudity, gave Eve a veil and Adam a skirt. Infrared imaging techniques and mathematical modelling have made it possible to reconstruct the original composition without harming the manuscript.

The Museum’s treasures will be displayed alongside carefully selected loans — celebrated manuscripts from Cambridge libraries as well as other institutions in the UK and overseas. These include an 8th century Gospel Book from Corpus Christi College, the University Library’s famous Life of Edward the Confessor, magnificent Apocalypses from Trinity College and Lambeth Palace, London, and a unique model book from Göttingen University.

Visitors will be encouraged to make their own discoveries in the exhibition galleries and online through a new, free digital resource: >ILLUMINATED: Manuscripts in the Making. With hundreds of high resolution digital images and infrared photographs, this interactive, cross-disciplinary resource offers users in-depth information on the manuscripts’ contents, patrons, cultural and historical contexts, as well as scientific data relating to artists’ techniques and materials.

With over 300 illustrations in full colour, the authoritative exhibition catalogue encompasses subjects as diverse as the trade in pigments, painting techniques, the medieval science of optics and modern-day forgeries. Catalogue entries and essays by leading experts offer readers insight into all aspects of colour from the practical application of pigments to its symbolic meaning.

“We are delighted to be presenting this exhibition in our bicentenary year,” says director, Tim Knox. “Ten years ago The Cambridge Illuminations was the Museum’s first ever record breaking exhibition, attracting over 80,000 visitors. People were enchanted by the remarkable beauty and delicacy of the manuscripts. I am convinced that our bicentenary visitors will again be equally inspired by the superb illuminations collected and treasured at the Fitzwilliam for 200 years, and will value this rare opportunity to find out how they were made and how we are preserving them for the future.”

COLOUR: The Art and Science of Illuminated Manuscripts will run during the second half of the Fitzwilliam’s bicentenary year, from 30 July to 30 December 2016. Admission is free.

Source: The Fitzwilliam Museum [August 01, 2016]