BELARUS: Mir Castle Complex

Received thanx to Nadea.

The region in which Mir Castle stands has a long history of political and cultural confrontation and coalescence, which is graphically represented in the form and appearance of the ensemble. This is a fertile region in the geographical centre of Europe, at the crossroads of the most important trade routes, and at the same time at the epicentre of crucial European and global military conflicts between neighbouring powers with different religious and cultural traditions. The short period of history starting in the late 15th century was marked by a combination of unprecedented changes in the religious, humanitarian and economic spheres. The Mir Castle complex in its setting vividly symbolizes the history of Belarus and, as such, it is one of the major national symbols of the country.

Construction of the castle by the Ilyinichi family began at the end of the 15th century, in Gothic style; it was subsequently extended and reconstructed. The initial work consisted of building the walls and towers in Gothic style, but work came to an end for some unknown reason. Building had been completed by the beginning of the 17th century with the addition of palatial accommodation, with some Renaissance features, after it had passed to the Radzivill family. Following sieges in 1655 and 1706 reconstruction work involved the addition of some Baroque features. After being abandoned for almost a century and suffering severe damage during the Napoleonic period, the castle was restored at the end of the 19th century, with the addition of a number of other elements and the landscaping of the surrounding area as a park. Its present form is graphic testimony to an often turbulent history. The old castle survived as a romantic ruin.

The Mir Castle complex is situated on the bank of a small lake at the confluence of the Miryanka river and a small tributary. The fortified walls of the castle form an irregular quadrilateral; there are four exterior corner towers with hipped roofs rising to five storeys and a six-storey external gate tower on the western side. The facades are in brick, with recessed painted plasterwork, and the window and door frames and the balconies are sandstone. The roofs are tiled, some of the tiling being glazed.

Near the castle is the Chapel-Crypt of the Dukes of Svyatopolk-Mirsky. Its facade is decorated with a mosaic panel depicting the image of Christ, made from multicoloured tesserae. Other features are the watchman's house, close to the north of chapel crypt; the palace annex built in the late 19th century, which is located in the landscape park area with stuccoed and decorated facades. The ruins of the main palace building are situated at the eastern outskirts of the complex and are not currently in use. The 19th-century chapel is a tiny stone stuccoed building. The memorial on the site of the massacre of the Mir ghetto prisoners lies in the northern part of the complex, to the east of the former Italian garden.

GERMANY: Cologne Cathedral

Cologne Cathedral, constructed over more than six centuries, has an exceptional intrinsic value and contains artistic masterpieces. It is a powerful testimony to the strength and persistence of Christian belief in medieval and modern Europe.

Christians met for worship in a private house in Roman Cologne near the city wall. Following the Edict of Milan in 313, when Constantine proclaimed religious freedom, this building was enlarged as a church. Alongside it were an atrium, a baptistry and a dwelling-house, possibly for the bishop. This modest ensemble was extended and enlarged in the following centuries. This immense building, known by the 13th century as 'the mother and master of all churches in Germany', was consecrated in September 70.

Post-Second World War excavations, as well as contemporary documents, provide evidence of its form and decoration - a basilica, with a central nave flanked by two aisles and a large atrium in front of its western facade. A two-storeyed Chapel of the Palatinate, in the style of Charlemagne's chapel in Aachen, was added to the south transept at the beginning of the 11th century, and later that century it was connected by two lofty arcades at the east end with the Collegiate Church of St Mary ad Gradus.

Despite its generous dimensions, this cathedral was found to be too small to accommodate the throngs of pilgrims who visited it after the relics of the Magi were brought there from Milan in 1164. The ambition of Engelbert to make his archiepiscopal cathedral into one of the most important in the Holy Roman Empire led him to urge the construction of an entirely new building, but the start of the work was delayed by his murder in 1225, and it was not until 1248 that work began. In 1560 much of the nave and the four side-aisles had been completed, along with the main structure of the lofty south tower of the west end. Despite numerous efforts, the cathedral remained in an uncompleted state for the following centuries.

When the French seized Cologne in 1794 the Archbishop and Chapter moved to Aachen, and the building was used first for storage of grain and fodder and then as a parish church. Work was to begin again after Cologne passed to Prussia in 1815. Karl Friedrich Schinkel visited the cathedral in 1816 and sent his talented pupil Ernst Friedrich Zwirner there as cathedral architect. The work did not begin, however, until 1840. By 1880 the building was complete, after 632 years and two months.

Cologne Cathedral is a High Gothic five-aisled basilica, with a projecting transept and a two-tower facade. The construction is totally unified. The western section, begun in 1330, changes in style, but this is not perceptible in the overall building. The 19th-century work followed the medieval forms and techniques faithfully. The original liturgical appointments of the choir are still extant to a considerable degree. These include the high altar on an enormous monolithic slab of black marble, the carved-oak choir stalls (1308-11), the painted choir screens (1332-40), the 14 statues on the pillars in the choir (1270-90), and the stained-glass windows, the largest extant cycle of 14th-century windows in Europe. There is an outstanding series of tombs of 12 archbishops between 976 and 1612.

SWEDEN: Church Village of Gammelstad, Luleå

 Received thanx to Ari.

      Luleå Gammelstad is a remarkable example of the traditional church town of northern Scandinavia, and illustrates the adaptation of conventional urban design to the special geographical and climatic conditions of a hostile natural environment. It is a type of milieu that has been shaped by people's religious and social needs rather than economic and geographical forces, being intended for use only during weekends and church festivals.

     The settlement became the meeting place for three groups - merchants from the coastal regions of the Gulf of Bothnia, local farmers, and the Saamis (Lappons) of the hinterland. Of these, the farmers were the largest group by the mid-16th century. A social framework evolved around the parish church, influenced strongly by two factors - trade and church visits from outlying villages and farms, whose inhabitants were unable to attend church services and return home in a single day. The site of the church and its market place developed into a church town, i.e. a cluster of wooden cottages and stables to provide sleeping accommodation for churchgoers at weekends and festivals. The new settlement resulting from the relocation of the old harbour and of the trading centre closer to the sea took the name of Luleå, and was also known as Nystad (New Town). The earlier church site, renamed Gammelstad (Old Town), continued as the parish centre, although the parish itself had diminished in size as population growth led to the creation of new parishes. Because of the need to ensure that farm animals were continuously supervised, it was not possible for a family to take part in religious observances at the same time. As a result the tradition of 'church holidays' for older parishioners two or three times a year developed, along with an annual two weeks at midsummer for the younger people to meet, to prepare themselves for confirmation.

    Gammelstad was untouched by the industrialization of the region in the later 19th century, made possible by the introduction of the railway from the south, which mitigated the isolation during winter, when the sea froze over. The advent of the car saw the gradual disappearance of most of the stables in the church town. Despite the relocation of the settlement to Luleå, the church village retained its town plan simply because there was no pressure for it to be changed during a period of stagnation. The houses built in the 20th century as part of the dormitory area of Luleå all lie outside the early settlement, and Gammelstad has retained its historical integrity.

      The church town consists of 424 buildings, divided into 555 separate rooms. All are built from wood, painted red and with doors and window frames picked out in white. The doors, which face the street, are very varied in design, as are the window shutters, essential where buildings are not occupied continuously. Most of the doors bear a pyramid device, a motif from pagan antiquity reinterpreted as a Christian symbol depicting an altar with a sacrificial fire. The roofs were originally of wood, but with the advent of metal sheeting this became the favoured roofing material, to reduce fire risk and water leakage during thaws. A specific form of rolled steel sheeting has become accepted as the traditional roofing material.

      The church is the largest of its type in northern Scandinavia. It was decorated by artists from Stockholm and is crowned with the coat of arms of the archbishop. The bell tower (1852) is detached from the church, an unusual feature in this region. Notable buildings within the area are the Chapel of Bethel on the church square; the Cottage of the Separatists: the Parish House, built in 1754; the imposing Tithe Barn (1790); and a number of private houses, notably the Mayor's Residence, the Captain's Residence, and the Guest House, mostly dating from the foundation of the 17th century town.

ALBANIA: Historic Centres of Berat and Gjirokastra

Received thanx to Ilda.

     These two fortified historic centres are remarkably well preserved, and this is particularly true of their vernacular buildings. They have been continuously inhabited from ancient times down to the present day. Situated in the Balkans, in Southern Albania, and close to each other, they bear witness to the wealth and diversity of the urban and architectural heritage of this region.

    Berat and Gjirokastra bear witness to a way of life which has been influenced over a long period by the traditions of Islam during the Ottoman period, while at the same time incorporating more ancient influences. This way of life has respected Orthodox Christian traditions which have thus been able to continue their spiritual and cultural development, particularly at Berat.

     Berat bears witness to a town which was fortified but open, and was over a long period inhabited by craftsmen and merchants. Its urban centre reflects a vernacular housing tradition of the Balkans, examples of which date mainly from the late 18th and the 19th centuries. This tradition has been adapted to suit the town's life styles, with tiered houses on the slopes, which are predominantly horizontal in layout, and make abundant use of the entering daylight.

    Berat and Gjirokastra bear outstanding testimony to the diversity of urban societies in the Balkans, and to longstanding ways of life which have today almost vanished. The town planning and housing of Gjirokastra are those of a citadel town built by notable landowners whose interests were directly linked to those of the central power. Berat bears the imprint of a more independent life style, linked to its handicraft and merchant functions.

   Together, the two towns of Gjirokastra and Berat bear outstanding testimony to various types of monument and vernacular urban housing during the Classical Ottoman period, in continuity with the various Medieval cultures which preceded it, and in a state of peaceful coexistence with a large Christian minority, particularly at Berat.

HUNGARY: Budapest, including the Banks of the Danube, the Buda Castle Quarter and Andrássy Avenue

Received thanx to Eniko.

         At the end of the 17th century a wall surrounded the city of Pest and for the most part Germans lived along the banks of the Danube. The areas outside of the city were arable land with fruit orchards, but by 1699 craftsmen had begun to establish suburban communities. From 1730 they began to settle an area then called Pacsirtamezq. In 1777 it was renamed Terezvaros after Saint Theresa and in honour of Maria Theresa. The parish church of Terezvaros was built in 1801-09 and by 1805 the current street grid had taken shape. Most of the merchants in the area settled and established themselves along Kiraly Street. At the beginning of the 20th century the areas of Erzsebetvaros and the City Park split off from this district. In 1841 Lajos Kossuth took up the idea of a large-scale promenade for Terezvaros. With the Union of Pest and Buda in 1873, Budapest truly became the nation's capital, developing at a faster rhythm than earlier; by the turn of the century it had become a modern metropolis with more than a million inhabitants.

          The symbol of this development is the radial Andrassy Avenue. There had been no attempts at organized urban development since the Middle Ages, and the Hungarian capital needed to make up for this lack in a single great leap in terms of public services, transportation, and city planning. To execute this great leap forward a special commission, the Capital Communal Labour Board, was established on the model of the London Metropolitan Board of Works. This commission planned and partially carried out construction of the avenue, as the modern city's stately promenade, along with the creation of essential infrastructure (transportation and utilities). The commission's establishment was decreed by a national act in 1870 and the state gave funds for its realization.

           The route of the avenue cut straight through an unregulated suburban area, thereby radically transforming its urban structure. Construction of the road began in 1872, the route was opened in 1876, and in one decade, by 1885, it was completed with 131 buildings. The Siemens and Halske companies built the first underground railway on the European continent there in 1893-96. It starts in the heart of the city, near the banks of the Danube, and runs just beneath the surface for the length of Andrassy Avenue to the City Park. The railway served the Millennial Exhibition, organized in 1896 to celebrate the 1000th anniversary of the Hungarian conquest. This also led to the construction of a memorial on Heroes' Square (1894- 1906), the development and extension of the landscape garden, the development of the Szechenyi Baths as an establishment for spa culture, and the Vajdahunyad Castle that displayed the different periods of Hungarian architecture.

INDIA: Chhatrapati Shivaji Terminus(formerly Victoria Terminus)

       

      The Chhatrapati Shivaji Terminus, formerly known as Victoria Terminus Station, in Mumbai, is an outstanding example of Victorian Gothic Revival architecture in India, blended with themes deriving from Indian traditional architecture. The building, designed by the British architect F. W. Stevens, became the symbol of Bombay as the ‘Gothic City’ and the major international mercantile port of India. The terminal was built over 10 years, starting in 1878, according to a High Victorian Gothic design based on late medieval Italian models. Its remarkable stone dome, turrets, pointed arches and eccentric ground plan are close to traditional Indian palace architecture. It is an outstanding example of the meeting of two cultures, as British architects worked with Indian craftsmen to include Indian architectural tradition and idioms thus forging a new style unique to Bombay.

CZECH REPUBLIC: Historic Centre of Prague

   Prague is one of the most beautiful cities in Europe in terms of its setting on both banks of the Vltava River, its townscape of burger houses and palaces punctuated by towers, and its individual buildings.

   The Historic Centre represents a supreme manifestation of Medieval urbanism (the New Town of Emperor Charles IV built as the New Jerusalem). The Prague architectural works of the Gothic Period (14th and 15th centuries), of the High Baroque of the 1st half of the 18th century and of the rising modernism after the year 1900, influenced the development of Central Europe, perhaps even all European architecture. Prague represents one of the most prominent world centres of creative life in the field of urbanism and architecture across generations, human mentality and beliefs.

    Prague belongs to the group of historic cities which have preserved the structure of their development until the present times. Within the core of Prague, successive stages of growth and changes have respected the original grand-scale urban structure of the Early Middle Ages. This structure was essentially and greatly enlarged with urban activities in the High Gothic period with more additions during the High Baroque period and in the 19th century. It has been saved from any large-scale urban renewal or massive demolitions and thus preserves its overall configuration, pattern and spatial composition.

   In the course of the 1100 years of its existence, Prague’s development can be documented in the architectural expression of many historical periods and their styles. The city is rich in outstanding monuments from all periods of its history. Of particular importance are Prague Castle, the Cathedral of St Vitus, Hradćany Square in front of the Castle, the Valdgtejn Palace on the left bank of the river, the Gothic Charles Bridge, the Romanesque Rotunda of the Holy Rood, the Gothic arcaded houses round the Old Town Square, the High Gothic Minorite Church of St James in the Stark Mĕsto, the late 19th century buildings and town plan of the Nave Mĕsto.

As early as the Middle Ages, Prague became one of the leading cultural centres of Christian Europe. The Prague University, founded in 1348, is one of the earliest in Europe. The milieu of the University in the last quarter of the 14th century and the first years of the 15th century contributed among other things to the formation of ideas of the Hussite Movement which represented in fact the first steps of the European Reformation. 

Prague is an urban architectural ensemble of outstanding quality, in terms of both its individual monuments and its townscape, and one that is deservedly world-famous.