
Photographer Unknown, Scaligero Castle, Sirmione, Scaliger era, Lombardy, Italy
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Photographer Unknown, Scaligero Castle, Sirmione, Scaliger era, Lombardy, Italy

Photographer Unknown, Seiganto-ji & Nachi Falls in Wakayama, Japan
The Seiganto-ji Temple is the oldest structure in Wakayama. It is registered as a UNESCO World Heritage site as part of “Sacred Sites and Pilgrimage Routes in the Kii Mountain Range.” Though the year of is establishment is not recorded, there are signs that nature worship has been carried out since ancient times in the area and a legend that the temple was founded during the 4th century.
From the middle period to the early modern period, the temple along with the adjacent Kumano Nachi Taisha Grand Shrine flourished as Shugenjo, a place for ascetic training.
The main highlight is a three-story red pagoda reconstructed in 1972. Its main hall, built in 1590, is designated as Important Cultural Property of Japan and exhibits a waniguchi drum, the largest Buddhist altar drum of its kind in Japan. The enshrined principal image, Nyoirin Kannon, Bodhisattva of Compassion, is said to grant any wish, including wishes for wealth, wisdom, and power.The public may view Nyoirin Kannon only on one day once a year, on August 17th.
This 3-meter high wooden image that was carved by Shobutsu Shonin during the reign of Empress Suiko which was from 592 – 628 AD. Inside the chest cavity, there is a small golden image of Kannon said to be just “1 sun 9 bu”, about six centimeters tall. This tiny golden Kannon was said to be the personal image that Ragyō the hermit enshrined in his hermitage in the 4th century. However, it is more likely to have been the personal image belonging to Empress Suiko.

Photographer Unknown, (Staircase Number 21: Swimming Upstream)
The Erawan Museum, Bangkok, Thailand
Located in Samut Prakan, Thailand, Erawan Museum is mostly known for its massive three-headed elephant art display. This elephant is said to contain ancient religious objects and antiquities, making up a priceless collection. The museum contributes to the preservation of the Thai cultural heritage.
The massive three headed elephant made of bronze weighs 250 tons, is 29 metres high, 39 metres long and stands on a 15 meter high pedestal. The inside of the museum is modeled after the Hindu representation of the universe, which consists of the underworld (1st floor), earth (2nd floor) and Heaven (top floor). The lower two floors are located inside the pedestal while the top floor is located in the belly of the elephant.
Photographer Unknown, (Green and Purple)

Photographer unknown, (Eye of the Dragon)

Andres Barbiani, “Stairway”
Andres Barbiani is a photographer from Venado Tuerto, Santa Fe, Argentina. In 2008 he started his photographic work with his friend Federico Luppi. At the end of 2009, one of his words was awarded a Jury Mention in a national contest of two thousand entries. Barbiani had an exhibition of photographs entitled “El Berretin de Lee Debord” in the city of Venado Tuerto during the month of February 2010. In August of 2010 one of his photographs was selected for the book “En Blanco y Black” by the Spainish publisher ArtGerust.

Carsten Höller, Tubular Slide, 2018
The giant 65ft-high tubular slide by artist Carsten Höller will be a feature of the Palazzo Strozzi’s courtyard in Florence from April 19 to August 26, 2018. If you are in Florence, Italy during that time, check it out.
Architectual Photography by Nicanor Garcia

Photographer Unknown, Staircase in Saigon Coffee House
Photographer Unknown, (The Elegant Crossing)
Nicolás Campodonico, Capilla San Bernardo Nicolás Campodonico (Saint Bernard’s Chapel), Cordoba, Argentina
Located in the Pampa plains area of Cordoba, Argentina, Saint Bernard´s Chapel rises in a small grove, originally occupied by a rural house and its yards. The rural house and its yards were both dismantled in order to reuse their materials, especially its one-hundred-year-old bricks. The site does not have electricity or any other utilities.
In the limit between the trees and the open country, the chapel´s volume opens up towards the sun, capturing the natural light of the sunset in the interior. Outside, a vertical and a horizontal poles are placed separately and projected towards the interior. As a result, every day all year round, the shadow of these, slides along the curved interior, finishing its tour overlapping with each other. The crucifixion is conceptually completed with the reunion of both poles, recreating the cross. Every day, the shadows of the poles make their way separately to finally meet and recreate the cross.
Architect: Nicolás Campodonico
Architect collaborators: Arq. Martin Lavayén, Arq. Soledad Cugno, Arq. Virginia Theilig, Arq. Gabriel Stivala, Arq. Tomás Balparda, Arq. Pablo Taberna, Arq. Gastón Kibysz.
Year: Day to Day Men: March 31
Changing His Tunes
The thirty-first of March in 1889 marks the official opening date of the Eiffel Tower in Paris. The wrought-iron lattice tower was constructed as the centerpiece for the 1889 Paris Exposition, and as a memorial to commemorate the centennial anniversary of the French Revolution.
Maurice Koechlin and Émile Nouguier, two senior engineers employed by Alexandre Gustave Eiffel’s company Compagnie des Établissements Eiffel, produced a sketch of a great metal pylon, narrowed as it rose, for the centerpiece of the Paris Exposition. With the assistance of Stephen Sauvestre, the company’s head architect, the men refined the design with the addition of decorative arches at the base of the tower and a glass pavilion on the first level. Gustave Eiffel approved the design and bought the patent rights for their design. This design for the Eiffel Tower was on display at the 1884 Exhibition of Decorative Arts under the company’s name.
On the thirtieth of March in 1885, Gustave Eiffel presented his plans to the Society of Civil Engineers at which time he discussed the technical difficulties and emphasized both the practical and symbolic aspects of the structure. Little progress on a decision was made until Édouard Lockroy was appointed Minister of Trade in 1886. A budget for the Paris Exposition was passed and requirements for the competition being held for the exposition’s centerpiece were altered. All entries were now required to include a study for a three-hundred meter, four-sided tower on the Champ de Mars. A judging commission set up on the twelfth of May found all proposals, except Eiffel’s design, either impractical or lacking in details.
Gustave Eiffel signed the January 1887 contract in his own capacity rather than as a representative of the company. The contract granted him 1.5 million francs toward the construction cost, less than a quarter of the expected cost. Eiffel was to receive all income from the commercial exploitation of the structure during the Paris Exposition and for the following twenty years. To manage the construction, he established a separate company for which he provided half the necessary capital.
The French bank, Crédit Industriel et Commercial, CIC, helped finance the Eiffel Tower’s construction through acquiring funds from predatory loans to the National Bank of Haiti. As a result, the Haitian government was sending nearly half of all taxes collected on its exports to finance the construction of the tower. While the tower was being built as a symbol of France’s freedom, the newly independent Haiti’s economy was hindered in its ability to start schools, hospitals and other basic establishments necessary for an established country.
Work on the Eiffel Tower’s foundations began at the end of January in 1887 with the formation of the four concrete slabs for the legs of the tower. While the east and south legs were easily done; the west and north legs, being closer to the Seine River, needed pilings twenty-two meters deep to support their concrete slabs. All four slabs supported blocks of inclined limestone for the ironwork’s supporting shoes. The foundation structures of the Eiffel Tower were completed at the end of June.
An enormous amount of preparatory work was done for the assemblage of the ironwork. Seventeen hundred general drawings and over thirty-six hundred detailed drawings of the eighteen thousand separate parts were needed. The task of drawing the components was complicate by the complex angles in the design and the degree of precision required; the position of the rivet holes were specified to within one millimeter. No drilling or shaping was done on site; all finished components, some already partially assembled, arrived on horse-drawn carts from the factory. If any part did not fit, it was sent back to the factory. The entire structure was composed of over eighteen thousand pieces joined with two and a half million rivets.
The main structure of the Eiffel Tower was completed at the end of March in 1889. On the thirty-first of March, Gustave Eiffel led a group of government officials and members of the press to the top of the tower. As the lifts were not yet in operation, the ascent by foot took over an hour; most of the party chose to stay at the lower levels. Gustav Eiffel, Émile Nouguier, the head of construction, Jean Compagnon, the City Council president, and the reporters from “Le Figaro” and “Le Monde Illustré” completed the ascent. Eiffel hoisted a large Ticolor flag as a twenty-five gun salute was fired at the first level.
The Eiffel Tower was not opened to the public until the fifteenth of May, nine days after the opening of the Paris Exposition. The lifts, however, were still not completed. Nearly thirty-thousand visitors climbed the seventeen thousand steps to the top before the lifts opened on the twenty-sixth of May. Notable visitors to the tower included inventor Thomas Edison, Edward VII the Prince of Wales, stage actress Sarah Bernhardt and “Buffalo Bill” Cody whose Wild West show was part of the Exposition.