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- Western Chalukya architecture
- Vasa (ship)
- Tomb of Antipope John XXIII
- Tech Tower
- The Swimming Hole
- Sicilian Baroque
- Shrine of Remembrance
- Shotgun house
- Scottish Parliament Building
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Western Chalukya architecture
Western Chalukya architecture (Kannada: ಪಶ್ಚಿಮ ಚಾಲುಕ್ಯ ವಾಸ್ತುಶಿಲ್ಪ), also known as Kalyani Chalukya or Later Chalukya architecture, is the distinctive style of ornamented architecture that evolved during the rule of the Western Chalukya Empire in the Tungabhadra region of central Karnataka, India, during the 11th and 12th centuries. Western Chalukyan political influence was at its peak in the Deccan Plateau during this period. The centre of cultural and temple-building activity lay in the Tungabhadra region, where large medieval workshops built numerous monuments. These monuments, regional variants of pre-existing dravida (South Indian) temples, defined the Karnata dravida tradition. Temples of all sizes built by the Chalukyan architects during this era remain today as examples of the architectural style.
Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, and the Mallikarjuna Temple at Kuruvatti and the Kallesvara Temple at Bagali, both in the Davangere district. Other monuments notable for their craftsmanship include the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district.
The surviving Western Chalukya monuments are temples built in the Shaiva, Vaishnava, and Jain religious traditions. None of the military, civil, or courtly architecture has survived; being built of mud, brick and wood, such structures may not have withstood repeated invasions. The centre of these architectural developments was the region encompassing the present-day Dharwad district; it included areas of present-day Haveri and Gadag districts. In these districts, about fifty monuments have survived as evidence of the widespread temple building of the Western Chalukyan workshops. The influence of this style extended beyond the Kalyani region in the northeast to the Bellary region in the east and to the Mysore region in the south. In the Bijapur–Belgaum region to the north, the style was mixed with that of the Hemadpanti temples. Although a few Western Chalukyan temples can be found in the Konkan region, the presence of the Western Ghats probably prevented the style from spreading westwards.
Most notable of the many buildings dating from this period are the Mahadeva Temple at Itagi in the Koppal district, the Kasivisvesvara Temple at Lakkundi in the Gadag district, and the Mallikarjuna Temple at Kuruvatti and the Kallesvara Temple at Bagali, both in the Davangere district. Other monuments notable for their craftsmanship include the Siddhesvara Temple at Haveri in the Haveri district, the Amrtesvara Temple at Annigeri in the Dharwad district, the Sarasvati Temple in Gadag, and the Dodda Basappa Temple at Dambal, both in the Gadag district.
The surviving Western Chalukya monuments are temples built in the Shaiva, Vaishnava, and Jain religious traditions. None of the military, civil, or courtly architecture has survived; being built of mud, brick and wood, such structures may not have withstood repeated invasions. The centre of these architectural developments was the region encompassing the present-day Dharwad district; it included areas of present-day Haveri and Gadag districts. In these districts, about fifty monuments have survived as evidence of the widespread temple building of the Western Chalukyan workshops. The influence of this style extended beyond the Kalyani region in the northeast to the Bellary region in the east and to the Mysore region in the south. In the Bijapur–Belgaum region to the north, the style was mixed with that of the Hemadpanti temples. Although a few Western Chalukyan temples can be found in the Konkan region, the presence of the Western Ghats probably prevented the style from spreading westwards.
Vasa (ship)
Vasa (or Wasa) was a warship that was built for King Gustavus Adolphus of Sweden from 1626 to 1628. The ship foundered and sank after sailing less than a nautical mile (ca 2 km) into her maiden voyage on 10 August 1628. Vasa fell into obscurity after initial attempts at recovering her valuable cannons in the 17th century but was located again in the late 1950s, in a busy shipping lane just outside the Stockholm harbor. She was salvaged with a largely intact hull on 24 April 1961. She was housed in a temporary museum called Wasavarvet ("The Wasa Shipyard") until 1987, and was then moved to the Vasa Museum in Stockholm. The ship is one of Sweden's most popular tourist attractions and, as of 2007, has attracted more than 25 million visitors.
Vasa was built top-heavy with insufficient ballast. Despite an obvious lack of stability in port, she was allowed to set sail and foundered a few minutes later when she first encountered a wind stronger than a breeze. The impulsive move to set sail resulted from a combination of factors. King Gustavus Adolphus, who was abroad on the date of her maiden voyage, was impatient to see Vasa join the Baltic fleet in the Thirty Years' War. At the same time, the king's subordinates lacked the political courage to discuss the ship's structural problems frankly or to have the maiden voyage postponed. An inquiry was organized by the privy council to find someone responsible for the disaster, but no sentences were handed out.
During the 1961 recovery, thousands of artifacts and the remains of at least 15 people were found in and around the hull of the Vasa by marine archaeologists. Among the many items found were clothing, weapons, cannons, tools, coins, cutlery, food, drink and six of the ten sails. The artifacts and the ship itself have provided historians with invaluable insight into details of naval warfare, shipbuilding techniques and everyday life in early 17th-century Sweden. When she was built, Vasa was intended to express the expansionist aspirations of Sweden and its king, Gustavus Adolphus, and no expense was spared in decorating and equipping her. She was one of the largest and most heavily armed warships of her time and was adorned with hundreds of sculptures, all of them painted in vivid colors.
Vasa was built top-heavy with insufficient ballast. Despite an obvious lack of stability in port, she was allowed to set sail and foundered a few minutes later when she first encountered a wind stronger than a breeze. The impulsive move to set sail resulted from a combination of factors. King Gustavus Adolphus, who was abroad on the date of her maiden voyage, was impatient to see Vasa join the Baltic fleet in the Thirty Years' War. At the same time, the king's subordinates lacked the political courage to discuss the ship's structural problems frankly or to have the maiden voyage postponed. An inquiry was organized by the privy council to find someone responsible for the disaster, but no sentences were handed out.
During the 1961 recovery, thousands of artifacts and the remains of at least 15 people were found in and around the hull of the Vasa by marine archaeologists. Among the many items found were clothing, weapons, cannons, tools, coins, cutlery, food, drink and six of the ten sails. The artifacts and the ship itself have provided historians with invaluable insight into details of naval warfare, shipbuilding techniques and everyday life in early 17th-century Sweden. When she was built, Vasa was intended to express the expansionist aspirations of Sweden and its king, Gustavus Adolphus, and no expense was spared in decorating and equipping her. She was one of the largest and most heavily armed warships of her time and was adorned with hundreds of sculptures, all of them painted in vivid colors.
Tomb of Antipope John XXIII
The Tomb of Antipope John XXIII is the marble tomb monument of Antipope John XXIII (Baldassare Cossa, c. 1360–1419), created by Donatello and Michelozzo for the Florence Baptistry adjacent to the Duomo. It was commissioned by the executors of Cossa's will after his death on December 22, 1419 and completed during the 1420s, establishing it as one of the early landmarks of Renaissance Florence. According to Ferdinand Gregorovius, the tomb is "at once the sepulchre of the Great Schism in the church and the last Papal tomb which is outside Rome itself".
Cossa had a long history of cooperation with Florence, which had viewed him as the legitimate pontiff for a time during the Western Schism. The tomb monument is often interpreted as an attempt to strengthen the legitimacy of Cossa's pontificate by linking him to the spiritually powerful site of the Baptistry. The evocation of papal symbolism on the tomb and the linkage between Cossa and Florence have been interpreted as a snub to Cossa's successor Pope Martin V or vicarious "Medici self-promotion", as such a tomb would have been deemed unacceptable for a Florentine citizen.
The tomb monument's design included three Virtues, Cossa's family arms, a gilded bronze effigy supported above an inscription-bearing sarcophagus, a Madonna and Child in a half-lunette, and a canopy. At the time of its completion, the monument was the tallest sculpture in Florence, and one of very few tombs within the Baptistry or the neighboring Duomo. The tomb monument was the first of several collaborations between Donatello and Michelozzo, and the attribution of its various elements to each of them has been debated by art historians, as have the interpretations of its design and iconography.
Cossa had a long history of cooperation with Florence, which had viewed him as the legitimate pontiff for a time during the Western Schism. The tomb monument is often interpreted as an attempt to strengthen the legitimacy of Cossa's pontificate by linking him to the spiritually powerful site of the Baptistry. The evocation of papal symbolism on the tomb and the linkage between Cossa and Florence have been interpreted as a snub to Cossa's successor Pope Martin V or vicarious "Medici self-promotion", as such a tomb would have been deemed unacceptable for a Florentine citizen.
The tomb monument's design included three Virtues, Cossa's family arms, a gilded bronze effigy supported above an inscription-bearing sarcophagus, a Madonna and Child in a half-lunette, and a canopy. At the time of its completion, the monument was the tallest sculpture in Florence, and one of very few tombs within the Baptistry or the neighboring Duomo. The tomb monument was the first of several collaborations between Donatello and Michelozzo, and the attribution of its various elements to each of them has been debated by art historians, as have the interpretations of its design and iconography.
Tech Tower
The Lettie Pate Whitehead Evans Administration Building, commonly known as Tech Tower, is a historic building located at 225 North Avenue NW in Midtown Atlanta, Georgia, USA, and a focal point of the central campus of the Georgia Institute of Technology (Georgia Tech). Erected in 1888 and named the Academic Building, Tech Tower was one of the first two buildings to be completed on the Georgia Tech campus. Tech Tower was built as a venue for classroom instruction to complement the hands-on training taking place in the shop building beside it. Since the razing of the shop in 1892 following a disastrous fire, Tech Tower enjoys the distinction of being the oldest structure on the Georgia Tech campus.
Tech Tower derives its nickname from a prominent seven-story central tower dominating the building's facade and visible from many parts of the Georgia Tech campus and surrounding area. Lighted signs in the shape of the word TECH hang atop each of the tower's four sides. A number of times, Georgia Tech students have accomplished the arduous task of stealing the letter 'T' from one of these signs, a prank now strictly forbidden by Institute officials despite prior attitudes to the contrary.
Tech Tower has achieved local, cultural, and historical significance in the century since its construction. Monuments and plaques commemorating philanthropy towards Georgia Tech adorn Tech Tower and the surrounding landscape. The red brick, Victorian-style building serves as the architectural anchor of the Georgia Institute of Technology Historic District, a landmark of tradition and school spirit, and the present-day administrative hub of the Institute. It has been the site of many ceremonies and important events, including a visit by U.S. President Theodore Roosevelt and its dedication in honor of Lettie Pate Whitehead Evans, "Tech's greatest benefactor."
Tech Tower derives its nickname from a prominent seven-story central tower dominating the building's facade and visible from many parts of the Georgia Tech campus and surrounding area. Lighted signs in the shape of the word TECH hang atop each of the tower's four sides. A number of times, Georgia Tech students have accomplished the arduous task of stealing the letter 'T' from one of these signs, a prank now strictly forbidden by Institute officials despite prior attitudes to the contrary.
Tech Tower has achieved local, cultural, and historical significance in the century since its construction. Monuments and plaques commemorating philanthropy towards Georgia Tech adorn Tech Tower and the surrounding landscape. The red brick, Victorian-style building serves as the architectural anchor of the Georgia Institute of Technology Historic District, a landmark of tradition and school spirit, and the present-day administrative hub of the Institute. It has been the site of many ceremonies and important events, including a visit by U.S. President Theodore Roosevelt and its dedication in honor of Lettie Pate Whitehead Evans, "Tech's greatest benefactor."
The Swimming Hole
The Swimming Hole (also known as Swimming and The Old Swimming Hole) is an 1884–85 painting by the American artist Thomas Eakins (1844–1916), in the collection of the Amon Carter Museum in Fort Worth, Texas. Executed in oil on canvas, it depicts six men swimming naked in a pristine lake. The Swimming Hole is regarded as a masterpiece of American painting. According to art historian Doreen Bolger it is "perhaps Eakins's most accomplished rendition of the nude figure", and has been called "the most finely designed of all his outdoor pictures". Since the Renaissance, the human body has been considered both the basis of artists' training and the most challenging subject to depict in art, and the nude was the centerpiece of Eakins' teaching program at the Pennsylvania Academy of the Fine Arts. For Eakins, this picture was an opportunity to display his mastery of the human form.
In this work, Eakins took advantage of an exception to the generally prudish Victorian attitude to nudity: swimming naked was widely accepted, and for males was seen as normal, even in public spaces. Eakins was the first American artist to portray one of the few occasions in 19th century life when nudity was on display. The Swimming Hole develops themes raised in his earlier work, in particular his treatment of buttocks and his ambiguous treatment of the human form; in some cases it is uncertain as to whether the forms portrayed are male or female. Such themes had earlier been examined in his The Gross Clinic (1875) and William Rush (1877), and would continue to be explored in his paintings of boxers and wrestlers.
Although the theme of male bathers was familiar in Western art, having been explored by artists from Michelangelo to Daumier, Eakins' treatment was novel in American art at the time. The Swimming Hole has been "widely cited as a prime example of homoeroticism in American art". In 2008, the art critic Tom Lubbock described Eakins' work as:
a classic of American painting. It shows a scene of healthy, manly, outdoor activity: a group of young fellows having stripped off for a dip. It is based on the swimming excursions that were enjoyed by the artist and his students. Eakins himself appears in the water at bottom right – in signature position, so to speak."
In this work, Eakins took advantage of an exception to the generally prudish Victorian attitude to nudity: swimming naked was widely accepted, and for males was seen as normal, even in public spaces. Eakins was the first American artist to portray one of the few occasions in 19th century life when nudity was on display. The Swimming Hole develops themes raised in his earlier work, in particular his treatment of buttocks and his ambiguous treatment of the human form; in some cases it is uncertain as to whether the forms portrayed are male or female. Such themes had earlier been examined in his The Gross Clinic (1875) and William Rush (1877), and would continue to be explored in his paintings of boxers and wrestlers.
Although the theme of male bathers was familiar in Western art, having been explored by artists from Michelangelo to Daumier, Eakins' treatment was novel in American art at the time. The Swimming Hole has been "widely cited as a prime example of homoeroticism in American art". In 2008, the art critic Tom Lubbock described Eakins' work as:
a classic of American painting. It shows a scene of healthy, manly, outdoor activity: a group of young fellows having stripped off for a dip. It is based on the swimming excursions that were enjoyed by the artist and his students. Eakins himself appears in the water at bottom right – in signature position, so to speak."
Sicilian Baroque
Sicilian Baroque is the distinctive form of Baroque architecture that took hold on the island of Sicily, off the southern coast of Italy, in the seventeenth and eighteenth centuries. The style is recognizable not only by its typical Baroque curves and flourishes, but also by its grinning masks and putti and a particular flamboyance that has given Sicily a unique architectural identity.
The Sicilian Baroque style came to fruition during a major surge of rebuilding following a massive earthquake in 1693. Previously, the Baroque style had been used on the island in a naïve and parochial manner, having evolved from hybrid native architecture rather than being derived from the great Baroque architects of Rome. After the earthquake, local architects, many of them trained in Rome, were given plentiful opportunities to recreate the more sophisticated Baroque architecture that had become popular in mainland Italy; the work of these local architects — and the new genre of architectural engravings that they pioneered — inspired more local architects to follow their lead. Around 1730, Sicilian architects had developed a confidence in their use of the Baroque style. Their particular interpretation led to further evolution to a personalised and highly localised art form on the island. From the 1780s onwards, the style was gradually replaced by the newly-fashionable neoclassicism.
The highly decorative Sicilian Baroque period lasted barely fifty years, and perfectly reflected the social order of the island at a time when, nominally ruled by Spain, it was in fact governed by a wealthy and often extravagant aristocracy into whose hands ownership of the primarily agricultural economy was highly concentrated. Its Baroque architecture gives the island an architectural character that has lasted into the 21st century.
The Sicilian Baroque style came to fruition during a major surge of rebuilding following a massive earthquake in 1693. Previously, the Baroque style had been used on the island in a naïve and parochial manner, having evolved from hybrid native architecture rather than being derived from the great Baroque architects of Rome. After the earthquake, local architects, many of them trained in Rome, were given plentiful opportunities to recreate the more sophisticated Baroque architecture that had become popular in mainland Italy; the work of these local architects — and the new genre of architectural engravings that they pioneered — inspired more local architects to follow their lead. Around 1730, Sicilian architects had developed a confidence in their use of the Baroque style. Their particular interpretation led to further evolution to a personalised and highly localised art form on the island. From the 1780s onwards, the style was gradually replaced by the newly-fashionable neoclassicism.
The highly decorative Sicilian Baroque period lasted barely fifty years, and perfectly reflected the social order of the island at a time when, nominally ruled by Spain, it was in fact governed by a wealthy and often extravagant aristocracy into whose hands ownership of the primarily agricultural economy was highly concentrated. Its Baroque architecture gives the island an architectural character that has lasted into the 21st century.
Shrine of Remembrance
The Shrine of Remembrance, located in St Kilda Road, Melbourne, is one of the largest war memorials in Australia, and resides in Kings Domain. It was built as a memorial to the men and women of Victoria who served in World War I. It now serves as a memorial for all Australians who served in war and it is the site of annual observances of ANZAC Day (25 April) and Remembrance Day (11 November).
Designed by architects and veterans of World War I, Phillip Hudson and James Wardrop, the Shrine is designed in a classical style, being based on the Tomb of Mausolus at Halicarnassus and the Parthenon in Athens. Built from Tynong granite, the Shrine originally consisted of a central Sanctuary surrounded by the Ambulatory. The Sanctuary contains the marble Stone of Remembrance, upon which is engraved the words "Greater love hath no man". Once a year, on 11 November at 11 a.m. (Remembrance Day), a ray of sunlight shines through an aperture in the roof to light up the word "Love" in the inscription. Beneath the Sanctuary lies the Crypt, which contains a bronze statue of a father and son and panels listing every unit of the Australian Imperial Force. The Visitor Centre was added beneath the Shrine in 2002–2003, and provides direct access to the Crypt.
The Shrine went through a prolonged process of development, which began with a proposal to build a Victorian memorial in 1918 and led to two initial committees—the second of which ran a competition for the memorial's design, announcing the Shrine of Remembrance as the winner in 1922. However, opposition to the proposal (led by Keith Murdoch and The Herald) forced the governments of the day to rethink the design, and led to a number of alternatives being proposed; the most significant of which was the ANZAC Square and cenotaph proposal of 1926. In response, General Sir John Monash used the 1927 ANZAC Day march to garner support for the Shrine, finally winning the support of the Victorian government later that year. The foundation stone was laid on 11 November 1927, and seven years later the Shrine was officially dedicated on 11 November 1934.
Designed by architects and veterans of World War I, Phillip Hudson and James Wardrop, the Shrine is designed in a classical style, being based on the Tomb of Mausolus at Halicarnassus and the Parthenon in Athens. Built from Tynong granite, the Shrine originally consisted of a central Sanctuary surrounded by the Ambulatory. The Sanctuary contains the marble Stone of Remembrance, upon which is engraved the words "Greater love hath no man". Once a year, on 11 November at 11 a.m. (Remembrance Day), a ray of sunlight shines through an aperture in the roof to light up the word "Love" in the inscription. Beneath the Sanctuary lies the Crypt, which contains a bronze statue of a father and son and panels listing every unit of the Australian Imperial Force. The Visitor Centre was added beneath the Shrine in 2002–2003, and provides direct access to the Crypt.
The Shrine went through a prolonged process of development, which began with a proposal to build a Victorian memorial in 1918 and led to two initial committees—the second of which ran a competition for the memorial's design, announcing the Shrine of Remembrance as the winner in 1922. However, opposition to the proposal (led by Keith Murdoch and The Herald) forced the governments of the day to rethink the design, and led to a number of alternatives being proposed; the most significant of which was the ANZAC Square and cenotaph proposal of 1926. In response, General Sir John Monash used the 1927 ANZAC Day march to garner support for the Shrine, finally winning the support of the Victorian government later that year. The foundation stone was laid on 11 November 1927, and seven years later the Shrine was officially dedicated on 11 November 1934.
Shotgun house
The shotgun house is a narrow rectangular domestic residence, usually no more than 12 feet (3.5 m) wide, with doors at each end. It was the most popular style of house in the Southern United States from the end of the Civil War (1861–65), through to the 1920s. Alternate names include shotgun shack, shotgun hut, and shotgun cottage. A railroad apartment is somewhat similar, but has a side hallway from which rooms are entered (by analogy to compartments in passenger rail cars).
The style was developed in New Orleans, but the houses can be found as far away as Chicago, Illinois; Key West, Florida; and California. Shotgun houses can still be found in many small southern towns. Though initially as popular with the middle class as with the poor, the shotgun house became a symbol of poverty in the mid-20th century. Opinion is now mixed: some houses are bulldozed due to urban renewal, while others are beneficiaries of historic preservation and gentrification.
Shotgun houses consist of three to five rooms in a row with no hallways. The term "shotgun house," which was in use by 1903 but became more common after about 1940, is often said to come from the saying that one could fire a shotgun through the front door and the pellets would fly cleanly through the house and out the back door (since all the doors are on the same side of the house). Another reputed source of the name is that many were built out of crates, i.e. old shotgun-shell crates, and those made for other purposes. However, the name's origin may actually reflect an African architectural heritage, perhaps being a corruption of a term such as to-gun, which means "place of assembly" in the Southern Dohomey Fon area.
Several variations of shotgun houses allow for additional features and space, and many have been updated to the needs of future generations of owners. The oldest shotgun houses were built without indoor plumbing, and this was often added later (sometimes crudely). "Double-barrel" shotgun houses consist of two houses sharing a central wall, allowing more houses to be fitted into an area. "Camelback" shotgun houses include a second floor at the rear of the house. In some cases, the entire floor plan is changed during remodeling to create hallways.
The style was developed in New Orleans, but the houses can be found as far away as Chicago, Illinois; Key West, Florida; and California. Shotgun houses can still be found in many small southern towns. Though initially as popular with the middle class as with the poor, the shotgun house became a symbol of poverty in the mid-20th century. Opinion is now mixed: some houses are bulldozed due to urban renewal, while others are beneficiaries of historic preservation and gentrification.
Shotgun houses consist of three to five rooms in a row with no hallways. The term "shotgun house," which was in use by 1903 but became more common after about 1940, is often said to come from the saying that one could fire a shotgun through the front door and the pellets would fly cleanly through the house and out the back door (since all the doors are on the same side of the house). Another reputed source of the name is that many were built out of crates, i.e. old shotgun-shell crates, and those made for other purposes. However, the name's origin may actually reflect an African architectural heritage, perhaps being a corruption of a term such as to-gun, which means "place of assembly" in the Southern Dohomey Fon area.
Several variations of shotgun houses allow for additional features and space, and many have been updated to the needs of future generations of owners. The oldest shotgun houses were built without indoor plumbing, and this was often added later (sometimes crudely). "Double-barrel" shotgun houses consist of two houses sharing a central wall, allowing more houses to be fitted into an area. "Camelback" shotgun houses include a second floor at the rear of the house. In some cases, the entire floor plan is changed during remodeling to create hallways.
Scottish Parliament Building
The Scottish Parliament Building (Scottish Gaelic: Pàrlamaid na h-Alba) is the home of the Scottish Parliament at Holyrood, within the UNESCO World Heritage Site in central Edinburgh. Construction of the building commenced in June 1999 and the Members of the Scottish Parliament (MSPs) held their first debate in the new building on Tuesday, September 7, 2004. The formal opening by Queen Elizabeth took place on October 9, 2004. Enric Miralles, the Catalan architect who designed the building, died before its completion.
From 1999 until the opening of the new building in 2004, committee rooms and the debating chamber of the Scottish Parliament were housed in the General Assembly Hall of the Church of Scotland located on The Mound in Edinburgh. Office and administrative accommodation in support of the Parliament were provided in buildings leased from the City of Edinburgh Council. The new Scottish Parliament Building brought together these different elements into one purpose built parliamentary complex, housing 129 MSPs and more than 1,000 staff and civil servants.
From the outset, the building and its construction have proven to be highly controversial. The choices of location, architect, design, and construction company were all criticised by politicians, the media and the Scottish public. Scheduled to open in 2001, it did so in 2004, more than three years late with an estimated final cost of £414m, many times higher than initial estimates of between £10m and £40m. A major public inquiry into the handling of the construction, chaired by the former Lord Advocate, Peter Fraser, was established in 2003. The inquiry concluded in September 2004 and criticised the management of the whole project from the realisation of cost increases down to the way in which major design changes were implemented. Despite these criticisms and a mixed public reaction, the building was welcomed by architectural academics and critics. The building aims to conceive a poetic union between the Scottish landscape, its people, its culture and the city of Edinburgh. This approach won the parliament building numerous awards including the 2005 Stirling Prize and has been described as "a tour de force of arts and crafts and quality without parallel in the last 100 years of British architecture".
From 1999 until the opening of the new building in 2004, committee rooms and the debating chamber of the Scottish Parliament were housed in the General Assembly Hall of the Church of Scotland located on The Mound in Edinburgh. Office and administrative accommodation in support of the Parliament were provided in buildings leased from the City of Edinburgh Council. The new Scottish Parliament Building brought together these different elements into one purpose built parliamentary complex, housing 129 MSPs and more than 1,000 staff and civil servants.
From the outset, the building and its construction have proven to be highly controversial. The choices of location, architect, design, and construction company were all criticised by politicians, the media and the Scottish public. Scheduled to open in 2001, it did so in 2004, more than three years late with an estimated final cost of £414m, many times higher than initial estimates of between £10m and £40m. A major public inquiry into the handling of the construction, chaired by the former Lord Advocate, Peter Fraser, was established in 2003. The inquiry concluded in September 2004 and criticised the management of the whole project from the realisation of cost increases down to the way in which major design changes were implemented. Despite these criticisms and a mixed public reaction, the building was welcomed by architectural academics and critics. The building aims to conceive a poetic union between the Scottish landscape, its people, its culture and the city of Edinburgh. This approach won the parliament building numerous awards including the 2005 Stirling Prize and has been described as "a tour de force of arts and crafts and quality without parallel in the last 100 years of British architecture".